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Conservation Resources 
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COMPLETE COURSE 



MILL WORK DRAFTING 



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1 SCHOOL OF * 
MLLWORK TECHNICS 



PEORIA, ILLINOIS 



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Copyrighted 1919 

by 

Clarence Finley McGaughey 

Peoria, Illinois 



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PREFACE. 

The Author, during his years of practical experience has realized the 
demand for an educational course solely for the purpose of educating the 
SASH AND DOOR world in general in the art of correct Millwork 
detailing and construction. 

The publication of this work will not only educate the employees of the 
Sash and Door world, whq, without assistance from their older and more ex- 
perienced fellow workers, would continue for years groping- in the dark 
for enlightenment in the vocation they have chosen for their life's work, 
but will assure their employer that they have fitted themselves to qualify 
for any position of responsibility, which may present itself, and further their 
employer can feel proud and satisfied that his force when educating them- 
selves by the sacrifice of pleasure, and leisure hours show the keenest in- 
terest toward both himself and the business in general. 

In conclusion the student who abstracts' the real value from this course 
will work with a feeling at heart, which will do justice to the authors' years 
of sacrifice and mental endeavors to perfect a work of art in this line, for 
the elevation of the present and coming generations. 

MAN CAN DO NO NOBLER WORK THAN TO SACRIFICE HIS 
LIFE THOUGHTS FOR THOSE WHO ARE TO COME. 

Written and published in Honor of the Author, 
Mr. C. F. McGaughey 

THE PUBLISHERS, 

School of Millwork Technics. 



LESSON NO. 0. 

No. 1. Lesson No. accompanying lesson No. 1, applies to all the les- 
sons of the entire course and consists of designs of lettering in both the 
lower and upper case. It also consists of three keys or scales of the scale 
rule laid out in a manner that will enable the student to grasp the method 
used in applying the scale rule. The lettering of this lesson is as essential 
as any of the other lessons, as a draft'sman's work is usually judged by 
correct and neat lettering. 

No. 2. Follow closely the explanation given governing the scale rule 
and its application. 



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No. 3. The key at the left of this lesson is the scale of 3 inches to 
the foot. To read it or compare it with the scale rule proper, place your 
scale rule using- the scale of 3 inches to the foot so the one foot mark in the 
cove of the rule will be directly on the extreme line at the right or corre- 
sponding foot mark of the key. The next line to the left of this line is 
the beginning of the fraction divisions of the scale and is designated by the 
zero "0" in the cove of the rule. The divisions are as follows and represent 
fractions of an inch and also of a foot. The foot is divided into twelve equal 
l>arts or inches and each inch is divided into 

One-Half inch (*/ 2 ") 

One-Quarter inch ( J 4") and 
One-Eighth inch { l /s") 

No. 4. This key of the scale is made so the student can learn by placing 
the scale parallel with the key as mentioned in paragraph No. 3 of this les- 
sen, and learn which of the small division lines represent the respective 
fractions as mentioned above. Also the inserted measurements will aid him 
in varifying any doubt in his mind as to the application of the scale rule. 

No. 5. The key at the right of this lesson is the key to the one inch 
scale. In learning the application of this scale, apply the method given in 
the above explanation, governing the 3" scale, only use the 1" scale. The foot 
is divided into twelve equal parts or inches and each inch is divided into 

One-Half inch (y 2 ") and 

One-Quarter inch (!4") 

No. 6. The key at the .left of this lesson and directly below the 3" scale 
already explained is the key to the quarter inch scale. In learning the 
application of this scale, apply the method given above, governing the 3" 
scale only use the \\" scale. The foot is divided into twelve equal parts 
or inches. The explanation in paragraph No. 3, will ena^ie the student to 
apply any of the other scales of the scale rule, which are as follows : 

3/32 inch scale is divided into six (6) equal parts and each line denotes 
2 inches (2"). 

y$ scale i 
~ , /\(\" 1 \ are divided into twelve equal parts and are applied as 



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{ explained for the quarter-inch scale. 



]/ 2 " inch ) are divided into twelve equal parts or inches and each inch 

y A " inch J is divided into half inches. For these two scales, apply the 

method as explained in the key to the scale of one inch to the foot. 



LESSON NO. 1. 

No. 1. In the beginning of this course you must study carefully the 
accompanying drawing and impress on your mind each part which constitutes 
and completes the item. 

No. 2. We wish to call vour particular attention to the following: 
(A GOOD DETAIL MAN PRODUCES A NEAT DRAWING AND HIS 
LETTERING HELPS TO MAKE IT NEAT.) "NOTE" Draw light guide 
lines before lettering, which will enable you to keep your letters uniform 
(PRACTICE LETTERING BEFORE AND AFTER EACH LESSON.) 




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No. 3. The accompanying lesson consists of two constructions of cellar 
sash frames. The one on the extreme left is constructed for use in an 8" 
brick or stone wall, or any wall other than wood 8" thick and can also be 
used in a 12" wall, provided that interior trim is not used. 

No. 4. The drawing directly opposite to the right of the elevation detail, 
where the cross lines show the grain or edge of the wood of each member 
crossed is the cross section. 

No. 5. A MEMBER OF ANY MILLWORK ITEM IS ONE OR 
MORE PIECES CONSTITUTING THE COMPLETE ITEM, WHEN 
MORE THAN ONE PIECE IS NEEDED TO CONSTRUCT THE ITEM. 

No. 6. A cross section is sometimes difficult to read or understand, 
but if you will follow the example given herein you will grasp it at once. 

No. 7. IF YOU WERE TO SAW A BOX (LARGE OR SMALL) 
THROUGH THE CENTER AND LOOK DIRECTLY AT THE SAWED 
END YOU COULD SEE THE CROSS SECTION OF THE SAWED 
MEMBERS PUT TOGETHER WITH THE OTHER MEMBERS IN 
THEIR RELATIVE POSITIONS. LOOKING AT THE BOX IN THIS 
MANNER WOULD GIVE YOU THE CROSS SECTION OF IT. 

No. 8. The same rule can be applied to all millwork construction where 
they show cross sections. They are merely a drawing, showing the end 
section or interior of each piece or member in its proper place, and properly 
moulded or rabbeted as the case may be. 

No. 9. A great many times a draftsman desires to make his drawing 
compact, this he can do by using the scale rule. (SEE LESSON "0" FOR 
INSTRUCTIONS OF HOW TO PUT THE SCALE RULE TO PRAC- 
TICAL USE.) 



No. 10. The large full sized drawing at the bottom of this lesson in 
the left hand corner is drawn first to ascertain the pitch or slope of the sill. 
To draw this, follow the description given below. 

No. 11. DRAW A STRAIGHT LINE WITH THE "T" SOUARE 
FROM "A" TO "C" 12 inches long, THEN DRAW A PERPENDICULAR 
LINE FROM "A" TO "B" V/ 8 inches (ONE AND SEVEN EIGHTHS OF 
AN INCH) THEN DRAW A LINE FROM "B" TO "C". THIS WILL 
GIVE YOU THE PITCH OR SLOPE, OF THE SILL. The pitch of sills 
vary with the different factories, but the one given is used in most localities. 

No. 12. YOU NOW DRAW THE SILL ON THE PITCH OR THE 
SLOPE LINE. IT TO MEASURE 1%" (ONE AND THREE QUAR- 
TERS OF AN INCH) THICK BY 5y 2 " (FIVE AND ONE HALF 
INCHES) WIDE IN DRAWING THE SILL ALWAYS KEEP THE 
PITCH LINES PARALLEL WITH THE PITCH LINE "B" TO "C" 
AND THE PERPENDICULAR LINES (STRAIGHT UP AND DOWN) 
PERPENDICULAR. 

No. 13. When drawing horizontal lines, place the "T" square at the 
left of the drawing board, this will enable you to obtain all horizontal lines 
accurately. 

No. 14. When drawing perpendicular lines, place the "T" square in the 
same position, and add the use of the angle, placing it against the top edge 
of the arm of the "T" square. This will enable you to draw correct per- 
pendicular lines. 

No. 15. THE INITIAL DRAWING IS THAT OF A CELLAR SASH 
FRAME. FOLLOW CLOSELY THE TWO LESSONS ON FRAMES 
OF WHICH THE CELLAR SASH FRAME IS THE FIRST DRAWING 
AS IT WILL ENABLE YOU TO PROGRESS MORE RAPIDLY IN 
SOLVING THE BALANCE OF THE LESSONS. 

No. 16. Draw a horizontal line about one inch above the space where 
you will draw later the head jamb. This line is the top of Brick Mould "A". 
Measure a distance from this line down 2" and ly&" thick, this will give you 
the Brick Moulding as "A". 

No. 17. Now draw head jamb "B", l^"x5}4" and project it down from 
the edge of the brick moulding "A", j4". Then draw at the extreme rear 
edge of the Head Jamb "B" a rabbet }4" deep by \}i" or \}i" , the thickness of 
the cellar sash, as the case may be. 

No. 18. Now drop down about six inches and duplicate the same as 
explained in paragraph above, this will give you the side jamb "E" and 
Brick Mould "A", which are identical with the head jamb. 

No. 19. Now drop down six inches the same as mentioned above and 
draw the sill SEE PARAGRAPH No. 10 and No. 11. The size of the sill 
is 1^4" x 5^" and is obtained without measuring, by projecting perpendicular 
lines down, on a line with the face and rear edge of side jamb "E". 

No. 20. THE OUTSIDE EDGE OF THE SILL IS ON A DIRECT 
LINE WITH THE OUTSIDE EDGE OF THE HEAD AND SIDE IAMB, 
WHEN A BRICK OR STONE SILL IS USED, WHICH IS THE CASE 
99 TIMES OUT OF ONE HUNDRED. 

No. 21. The members designated by "H", "J", "I", and "K" are parts of 
the house and are shown only so the student may know where and how 
the cellar sash frames are placed in the wall. 

No. 22. "H" is the sill. "I" is the face of the box sill of the house. 
"J" is the base board and "K" is the drip cap or water table. 

No. 23. Where there is no stone or brick sill used, it is necessary to 
use a large wood sill the size of which is I%"x9", for a wall 8" thick, and 
is made the same pitch as the other sill explained in paragraph No. 10 and 
No. 11. 

No. 24. The drawing at the left of the cross section is the outside or 



exterior elevation, and is drawn by projecting parallel lines from a point 
of the cross section, where a drawing of any member stops or finishes, like the 
bottom edge of brick Mould "A" at head jamb "B". The bottom edge of 
head jamb "B" and both top and bottom edges of sill "D". The elevation 
part of any drawing is that portion that is exposed or which can be seen, 
after the various members have been put together. 

No. 25. The drawing at the right of leson No. 1, is also a cellar sash 
frame but differs slightly in construction and is used in the wall where the 
studding is extended within a few inches from the grade line or surface 
of the ground. Draw horizontal lines as explained in paragraph No. 16. 
Draw head casing l^"x5^" like "A", then draw at the top of head casing 
'A", drip cap iy & " *2 J / 2 " like "B", then insert Bed Mould "C", which is 
placed underneath drip cap "B" and extends to the face side of head casing 
'A". This moulding is 13/16" x I/2". You now draw head jamb "D" the 
same as head jamb "B", paragraph No. 17, allowing it to project K>" beyond 
the bottom edge of head casing 'A", and insert a rabbet on the op.osite 
edge, the same as explained in paragraph No. 17. Drop down six inches 
the same as paragraph No. 18, and draw side jamb "E" the same as head 
jamb "D", then draw the outside side casing "F", 1^x4)/" and set it back 
y 2 " from the face edge of side jamb "E" and insert a rabbet on side jamb "E", 
the same as on head jamb "D". The sill is drawn the same as paragraph 
No. 19 and to obtain the proper slope or pitch, refer to paragraph No. 10 
and No. 11. The size of the sill is l^"x5^' / . SEE SILL "G". 

No. 26. The drawing at the right hand side is the exterior elevation, 
and is drawn by projecting lines as explained in paragraph No. 24. 

PRACTICE LETTERING BEFORE AND AFTER EACH LESS< >N. 
EXERCISE NEATNESS WHEN DRAWING YOUR LESSONS. 

No. 27. IF YOU ARE UNABLE TO GRASP THE EXPLANATK >N 
COVERING THE ELEVATION DRAWINGS MENTIONED, IT 
\\( )ULD BE WISE FOR YOU TO GO TO THE MILL, WHERE Y< >l' 
NO DOUBT CAN FIND A FRAME PUT TOGETHER. STUDY CARE- 
FULLY EACFI MEMBER AND LEARN ITS PROPER LOCATION. 
THEN VIEW r IT LOOKING DIRECTLY AT THE OUTSIDE ON A 
STRAIGHT LINE. THIS WILL ENABLE YOU TO KNOW THAT 
ONLY PART OF THE MEMBERS ARE EXPOSED TO THE EYE 
AND THESE PARTS ARE INDICATED ON DRAWINGS BY LINES 
WHICH DENOTES THAT THEY ARE THE EXPOSED PORTIONS. 

No. 28. You will notice that in all elevation drawings, there is a vacant 
space or break, this is done to save space and at the same time show all 
necessary lines, which constitute the drawing. 



LESSON NO. 2. 




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No. 1. Lesson No. 2 consists of an outside window frame for a regular 
2x4 stud wall, where sheathing is used outside, and regular lath and plaster 

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inside. Draw a horizontal line like explained in first sentence, paragraph 
No. 16, of lesson No. 1. Draw blind stop "A" ^4"xl^", then draw Head 
"B", 24"x4j/>". The back or top edge of this head is to be on a line 
with blind stop "A". This will give Blind stop "A" a projection below the 
face side of Head "B" l /i inch. You then insert parting stop "C" size 5^ x -}4" 
and project it below the face side of Head "B" */>". This parting stop "C" is 
placed or inserted according" to the thickness of the sash or window \V% 
or \y^" as the case may be. The space between the projection of blind stop 
"A" and parting stop "C" is the space where the top sash, of the window is 
placed. The space back of parting stop "C" to the edge of the inside window 
stop (WHICH WILL BE EXPLAINED IN A LATER LESSON) is the 
space for the bottom sash of the window. Draw head casing "D", l}i" x 5^i", 
and include drip cap "E" \ l /§y.2 l / 2 , then at the bottom edge of the drip 
cap "E" draw Bed Moulding "F" %"xl>4" and extend it to the face of 
head casing "D". 

No. 2. Draw Pulley stile "G", also include parting stops "C" and blind 
stop "A", the same as Head "B", parting stop "C" and blind stop "A" 
paragraph No. 1, lesson No. 2. (A JAMB FOR A WINDOW CONSISTS 
OF THREE MEMBERS: BLIND STOP, PULLEY STILE AND PART- 
ING STOP.) 

No. 3. Draw side casing "H" I^x4/j" and set it back from the edge 
of blind stop "A" y 2 ", which will be on a line with the face side of pulley 
stile "G". 

No. 4. The sill construction in this frame differs from the one in a 
cellar frame, as it consists of two pieces or members, one known as the sill 
"J" and the other as the sub-sill "F\ The pitch however, is the same and 
is determined in the same manner as explained in paragraph No. 10 and 
No. 11, lesson No. 1. The sub-sill "I" is ?4"x534" and the sill "J" is 
1^4" x3-ys". The face or outside edge of the sub-sill "I" is drawn on a 
perpendicular line with the outside edge of blind stop "A". The outside 
edge of sill "J" is projected Y\' beyond the outside edge of side casing "H". 
Always insert a plow or rabbet in the bottom of sill "J" like "K". The back 
edge of this plow is to be on a line with the face of the sheathing "L" and 
is plowed Yi " x ]//' , to accommodate the insertion of the drop siding. The 
outside edge of this plow will measure \}i" back from the outside edge of 
the sill "J". 

No. 5. You will notice lesson No. 2 contains a Mullion. Mullions are 
used only in frames known as twin, triple, quadruple, sextuple, etc., and in 
drawing them in frame details, always place your cross section of the mullion 
above the sill and sub-sill. This will save you time in relaying out. A 
Mullion in a window frame has two jambs, each consisting of a pulley stile 
and blind and parting stop. In this lesson or any window frame, the Mullion 
jambs are identical with the side or head jamb, therefore, draw the jambs 
in the mullion the same as pulley stile "G", blind stop "A" and parting stop 
"C". Outside casing "M" is l^"x6", and each edge is on a horizontal line 
with the face side of the pulley stiles in the respective mullions. The open 
space between the backs of each pulley stile in the Mullion should be 4]^" 
to accommodate the use of sash weights, which are a necessity to balance 
the windows when raised and lowered and the space of 4^ inches mentioned 
above is ample room to prevent one weight from coming in contact with 
the other when the windows are raised and lowered. 

No. 6. The side jamb also has a space between the back of the pulley 
stile "G" and the side of the studding, this space is 2 l /\ inches, and also 
is for the use of sash weights. It is made approximately half the size of the 
weight space of the mullions as it contains only one weight for each sash, 
whereas the mullion must contain four weights, two each for each of the 
windows (TWO SASH) which slide up and down on their respective pulley 
stiles. From the fact that the mullion is placed as a divider between one side 
of each of the two windows that it divides it is necessary to figure the weight 
space accordingly. 



No. 7. The drawing at the right of cross section on plate No. 2, is the 
outside elevation of the window frame, just explained and is drawn the same 
as explained in paragraph No. 24, lesson No. 1. 

No. 8. The drawing at the left is the interior trim, which will be ex- 
plained in a later lesson. 

LESSON NO. 3. 




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No. 1. Lesson No. 3, consists of an outside door frame for a 2x4 stud 
wall with sheathing and lath and plaster the same as lesson No. 2. Draw 
horizontal line as explained in paragraph No. 16, lesson No. 1, draw the head 
jamb "A", l^s"x5>4" and insert at the left hand or inside edge a rabbet 
'./'xl^" or 1^4", the thickness of the door, as the case may be. Draw- 
head casing "B", l/s"x5^s". setting it above the face of the head jamb 
y 2 "i and on a line parallel with the depth of the rabbet include drip cap "C", 
iy 8 "x2y 2 ", then include Bed Moulding "D", y" x V/2" from the bottom edge 
of drip cap "G" to the face side of head casing "B" side jamb "E" is drawn 
the same size and in the same manner as head jamb "A". The side casing 
"F" is drawn l^"x4^" and is set back on a line with the depth of the 
rabbet, the same as head casing "B". The sill is drawn \y" x 7^" and the 
slope or pitch is \y&" , slope in 12" run. To obtain this patch, draw a full 
size diagram the same as explained in paragraph No. 10 and No. 11. lesson 
No. 1. (Note the pitch of this sill is V/i" slope in 12" run, whereas the full 
size diagram, paragraphs No. 10 and No. 11, lesson No. 1, is 1%" slope in 
12" run. 

No. 2. The drawing at the right hand side, is the outside elevation of 
the door frame and is drawn by projecting lines as explained in paragraph 
No. 24, lesson No. 1. 

No. 2. The drawing at the left hand side of the cross section is the 
inside trim, which will be explained in a later lesson. 

LESSON NO. 4. 

No. 1. Lesson No. 4, consists of a box window frame, which can be 
used in a 9", 13", or 17" brick or stone wall. Draw horizontal lines as ex- 
plained in paragraph No. 16, lesson No. 1, then draw the brick Moulding 
"A", l/ 8 "x2", then draw the blind stop "B", 24"x2^", the top edges of 
the brick mould "A", and blind stop "B" will be flush, which will leave a 
projection of blind stop "B", below brick mould "A" y 2 ", then draw head 
jamb "C", l^"x4%". The face edge of head jamb "C", is to be on a 
parallel line with the bottom edge of brick mould "A", insert the parting stop 
"I)", y 2 " x y", and space it back from blind stop "B", l}i" or 1^4, according 
to the thickness of the sash of the window, insert a plow or rabbet at the 
inside edge of head jamb "C". This plow is made to accommodate the use 
of a sub or extension jamb, which is necessary when the wall is wider than 9" 
like "H". This extension jamb is not furnished with the window frame, but 



is included with and in the same wood as the interior trim, owing to the 
fact that it is one of the respective trim members. 




No. 2. Drop clown from head jamb about 6 or 8 inches and draw brick 
mould "A", then draw blind stop "F",%xi%". This blind stop is made wider 

than the blind stop used with the head jamb as it helps to form the box 
in which the weights balancing the sash are suspended, then draw pulley 
stile "G", ^"x4}'s" and insert the parting stop "D" the same as in the head 
jamb, then draw back wall lining "H M ^"n4' n ". the same dimensions as 
pulley stile "G", then draw inside lining 24"x4d4" and insert a plow or 
rabbet for the use of extension jamb "E" as mentioned in paragraph No. 1 
of this lesson, then draw sill "L" ljq"x6" on the same pitch or slope as 
mentioned in paragraph No. 10 and No. 11, lesson No. 1. The face edge of 
this sill is not to extend beyond the face edge of blind stop "F". This point 
can be determined before drawing the sill by extending a perpendicular line 
down from blind stop "F" just mentioned, stopping the sill at this point, per- 
mits the brick moulding "A" to pass and rest on the stone sill. 

No. 3. The Mullion of a box frame is used the same as explained in 
paragraph No. 5, lesson No. 2, only in a mullion of a box frame, the brick 
mould is made l/s"x6" and forms the outside easing of the Mullion. It 
also has a casing on the inside edge, ^"x6", which makes a complete box 
for the weights, note the measurement inserted for this mullion is inches 
between windows. 

No. 4. The drawing at the left is the outside elevation of a box frame 
and can be drawn by projecting lines as explained in paragraph No. 24, lesson 
No. 1. 

No. 5. Idle drawing at the right side is the interior trim, which will be 
explained in a later lesson. 

PRACTICE LETTERING BEFORE AND AFTER EACH LESSON. 
EXERCISE NEATNESS AND CARE WHEN DRAWING YOUR LES- 
SONS. 

LESSON NO. 5. 

No. 1. Lesson No. 5 consists of an outside door frame for a brick wall. 
Idle width of the jamb on a door frame of this kind depends on the thickness 
of the wall. There are times when a sub jamb similar to sub jamb "E" 
paragraph No. 1, lesson No. 4 is used, but usually the jamb is made the 
necessary width in order to insure strength, as there is considerable strain 
on a door jamb, especially when the door is l-;4" thick. 

No. 2. Draw a horizontal line as explained in the previous lessons, then 
draw brick mould "B", l^"x2", then draw the head jamb "C" 1^4"x9" 
for a 13" wall and project it below the brick mould T A'. Also insert a rabbet 
at the extreme rear edge. ><" x 1^" or V)(\" , the thickness of the door. 

No. 3. Drop down 6" to 8" and draw brick mould "B" the same as 



explained above and then draw side jamb "A*', the same as bead jamb "C". 
No. 4. It is unnecessary to draw a wood sill with this door frame as 
it is seldom if ever used. The side jamb rests on the stone sill and is held 
in place by boring holes in the sill and inserting an iron or steel dowel rod. 
which is also inserted in the bottom edge of each side jamb. 




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No. 5. The member under letter "D" is the O.. S. door threshold, which 
is furnished separate from the frame and put in place after the door is hung. 
These thresholds are used to keep the weather elements from entering the 
interior of the room. 

No 6. JAMB WIDTHS FOR THE VARIOUS THICKNESS OF 
WALLS ARE AS FOLLOWS: 

9" wall : sy 4 ' 

13" wall - 9" 

17" wall 13" 

No. 7. The drawing at the left of the cross section is the outside ele- 
vation of the door frame, and is drawn the same as explained in paragraph 
No. 24, lesson No. 1. 

No. 8. The drawing at the right side of the cross section is the inside 
trim, which will be explained in a later lesson. 

PRACTICE LETTERING BEFORE AND AFTER EACH LESSON. 
EXERCISE NEATNESS AND CARE IN MAKING ALL OF YOUR 
DRAWINGS. 

LESSON NO. 6. 



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No. 1. Lesson No. 6, consists of a window frame for a brick veneered 
wall. Note from the drawing, the thickness of the wall is the same as a 
2x4 stud wall. In other words it is constructed in the same manner and the 
difference lies in the veneer of brick, which is placed outside the sheathing 

10 



1 inch from the face of the sheathing, this necessitates a slight change in the 
construction of the frame. 

No. 2. Draw a horizontal line as explained in the previous lessons, draw 
brick mould "A" l',x"x2", then draw blind stop ' B" ->4" x 4" projecting it 
1 _■" below the edge of the brick mould "A". Draw head jamb "C" ^"x.S 1 \" 
and insert parting stop "D" allowing a space between it and blind stop "B" 
l\x" or 1;4", the thickness of the sash of the window. Parting stop "D" is 
to project Yi" below the face of the head jamb "C" on a line with the edge 
of blind stop " !'>". 

No. 3. Drop down 6" or 8" and draw brick mould "A" as explained in 
paragraph No. 1. including blind stop "B". pulley stile "C" and parting stop 
(f D" which will constitute the side jamb. The side jamb in this frame is 
the same as the head jamb explained in paragraph No. 2 of this lesson. 

No. 4. Drop down and draw the sill "G" 1^4" x7}i" as shown, in one 
piece as this frame usually is fitted with a single sill. The slope of the sill is 
obtained as explained in paragraph No. 10 and No. 11. lesson No. 1. 

No. 5. ddie mullion is drawn the same as the mullion explained in lesson 
No. 2, paragraph No. 5, only the brick mould is made wide to form a facing 
for the box, as explained in paragraph No. 3, lesson No. 4. ddie blind stop 
"E" of the mullion is -}i" x \ l 4" as it is unnecessary to have it larger. The 
distance or measurement from face of jamb to face of jamb of the mullion 
in width or between window stiles is inches, allowing ample space for 
weight pocket room. 

No. 6. The drawing at the left is the outside elevation of the window 
frame and is drawn by projecting lines, horizontal from projecting or exposed 
points, as explained in paragraph No. 24, lesson No. 1. 

No. 7. If the studding is to be wider than AA" known as 2x4 stud, 
increase the width of pulley stile "C", sill "A" and head jamb "C" accord- 
ingly, as these are the only members effected by this change. 

No. 8. Idle drawing at the right side of cross section is the interior 
trim which will be explained in a later lesson. 

PRACTICE LETTERING BEFORE AND AFTER EACH LESSON. 
EXERCISE NEATNESS AND CARE IN MARINA ALL OF YOUR 
DRAWINGS. 

LESSON NO. 7. 




No. 1. Lesson No. 7 consists of an outside door frame for a brick 
veneered wall of wall construction the same as explained in lesson No. 0. 
paragraph No. 1. 

No. 2. Draw horizontal line, then draw brick mould "A" l', s "x2". then 
draw head jamb "B", 1^4"x6' : and insert a wind break "C", ^4" x 3". Project 
head jamb "B", A" below the edge of brick mould "A", also insert a rabbet 
on inner edge | _> " x l\s" or 1A"- the thickness of the door to be used. 

No. 3. Drop down (>" or A' and draw the side jamb "D" in the same 

11 



manner as explained in paragraph No. 1 of this lesson, using brick mould "A", 
wind break "C", and side jamb "D", the same as head jamb "B". 

No. 4. The wood sill is omitted in this frame the same as in the frame 
for a brick wall, as a stone sill is used, but a threshold is required as ex- 
plained in paragraph No. 5, lesson No. 5. 

No. 5. The drawing at the left is the outside elevation of the frame 
and is drawn by projecting lines from projecting or exposed points of the 
cross section, as explained in paragraph No. 24, lesson No. 1. 

No. 6. The drawing at the right is the interior trim, which will be ex- 
plained in a later lesson. 

PRACTICE LETTERING BEFORE AND AFTER EACH LESSON. 
FXERCISE NEATNESS AND CARE IN MAKING ALL OF YOUR 
DRAWINGS. 

LESSON NO. 8. 




- 









No. 1. Lesson No. 8. consists of a casement sash frame for a 2x4 stud 
wall, This wall is the same as explained in lesson No. 2, paragraph No. 1. 

No. 2. Draw a horizontal 'line, then draw perpendicular lines to form 
head casing "A" 1 ] , s " x 5-V and include drip cap l^"x2^", also include 
Bed Mould "C" projecting it from the bottom edge of drip cap "B" to the face 
of the heading casing "A". Draw head jamb "D" I^"x5j4" and project it 
24" below the edge of the head casing "A", then insert a rabbet 1 /a" x l-;,s" or 
l-)4", the thickness of the sash used. This rabbet is to be on the outside 
edge of the frame as the sash is to swing out. 

No. 3. Drop down 6" or 8". and draw the side jamb "F" the same as 
explained for head jamb in paragraph No. 1 of this lesson, only draw the 
side casing "F" l I 's"x4 1 />". and do not include drip cap "B" or Bed Mould 
"C", the side jamb is drawn the same as head jamb "D". 

No. 4. Draw the sill "G", U/ A " x 5" and project it 1" beyond the face 
vd<^ of side^ casing "F" and head casing "A". 'This sill is" rabbeted •/?!' 
deep by 3%" back from the outside edge when \Y\" sash are used and 
H x Z l / 2 " when l^s" sash are used, leaving the thickness along the outside 
edge iy&", forming a water drip at the rear edge, preventing the elements 
of the weather from entering the interior of the room. 

No. 5. The Mullion of this frame differs from that of the other frames 
as it is unnecessary to allow a space for weights. The casement sash are 
hinged in the rabbet at the side, eliminating the use of sash weights. Also 
the casement sash is made and placed in the frame to swing out in place of 
raising and lowering as is the case with windows. 

No. 6. The Mullion jamb "H" is l^i" x 5%" the same as head jamb "D" 
and side jamb "E" and are placed in the frame so that the distance between 
the sash is three inches. The outside casing "1" is l's"x2", which leaves 
a projection on the edge of jamb "H" ' _>", the same as the projection of the 
other jambs. 



12 



No. 7. The drawing at the left is the outside elevation of the frame 
and can be drawn by projecting lines from projecting or exposed points of 
the cross section, as explained in paragraph No. 24, lesson No. 1. 

No. 8. The drawing- at the right is the interior trim which will be 
explained in a later lesson. 

PRACTICE LETTERING BEFORE AND AFTER EACH LESSON. 
EXERCISE NEATNESS AND CARE IN MAKING ALL OF YOUR 
DRAWINGS. 

LESSON NO. 9. 










No. 1. Lesson No. 9 consists of a casement frame for a 2x4 stud wall 
the same as lesson No. 8, only lesson No. 9 is made for the sash to swing in. 
in place of out. 

No. 2. Draw head casing "A", the same as lesson No. 8, also draw 
drip cap ( 'B" and Bed Mould "C" in the same manner. Draw head jamb 
"D" \y%" x5%" and project it V2" below the edge of head casing "A" and 
insert a rabbet at the REAR edge ^"xl^" or \y±' the thickness of the 
sash. 

No. 3. Draw side casing "E" the same as side casing "F" of lesson 
No. 8. Draw side jamb "F" the same as head jamb "D" of this lesson 
paragraph No. 2. 

No. 4. The sill "G" is drawn 1^4" x 7^" and is rabbeted almost the 
entire width. The thickness at the narrowest part of the sill is 1/4", leaving 
a projection at the rear j/>" inch to prevent the weather elements from 
entering the interior of the room. This projection is Yz" wide, allowing the 
bottom rail of the sash, after being plowed, to fit over and against this 
projection, making a water tight joint. 

No. 5. At the rear interior edge of the sill "G" is inserted a plow which 
is to accommodate the stool of the trim, of which you will learn in a later 
lesson. 

No. 6. The Mullions are similar and are drawn the same as explained 
in paragraph No. 6, lesson No. 8. THE SILL PITCH OR SLOPE OF THE 
CASEMENT SASH FRAME IS OBTAINED AS EXPLAINED IN LES- 
SON NO. 1, PARAGRAPHS NO. 10 AND NO. 11. 

No. 7. The casement sash frames are also used in a brick and brick- 
veneered wall. In drawing a casement sash frame for a brick wall, use 
brick mould "A" as explained in paragraph No. 1, lesson No. 4, and make the 
jamb 1^4" thick in place of 1^", the balance of the frame is the same, only 
watch the thickness of the brick wall and draw your jamb accordingly, as 
explained in paragraph No. 6, lesson No. 5. 

No. 8. In drawing a casement sash frame for a brick veneered wall, 
follow instructions as explained in lesson No. 6, paragraph No. 7, also draw 
brick mould like explained in lesson No. 6 and insert a wind break the 
same as explained for door frames, lesson No. 7, paragraph No. 2. 

13 



PRACTICE LETTERING BEFORE AND AFTER EACH LESSON. 
EXERCISE NEATNESS AND CARE IN MAKING ALL OF YOUR 
DRAWINGS. 

LESSON NO. 10. 




' ' ///A • 




No. 1. Lesson No. 10 covers three kinds and designs of door frames 
for use in interior walls. 

No. 2. The drawing at the extreme left hand corner is an inside door 
frame of the ordinary type or the standard frame. The size of this jamb 
is G' x 5^4" when used in a wall made from a 2x4 stud with regular lath 
and plaster on both sides. 

No. 3. Always remember that an inside door jamb width is governed 
by the thickness of the wall where in it is used. I.E., if the wall is 10" wide 
overall the jamb is to be the same width also. 

No. 4. The small piece which you see placed on the center of the jamb 
is the door stop which is usually ) _." x 1^4" and is placed here to stop the door 
when it is being- closed. 

No. 5. Inside door frames consist of three members, i.e., two side 
jambs and one head jamb, which are all the same thickness and width. The 
side jambs are dadoed to receive the head jamb. This dado must be made 
the full width of the jamb and the same thickness of the head jamb. A 
DADO IS A GROOVE. This dado is placed down from the top of the sick- 
jambs about one inch, leaving room for the carpenter to trim the ends if 
desired. 

No. 6. ddie drawing at the upper left hand corner of this lesson at the 
right of frame just explained is an inside door frame, the same as explained 
above, only it is made l l /s" thick or \y% or 1^4" as the desired case may be. 
the width, however, is to be governed by the thickness of the wall. This 
jamb is rabbeted to receive the door in place of having a Stop planted cm. The 
rabbet in size is y 2 " by the thickness of the door as the case ma)- be. The 
dado is the same as explained above. 

No. 7. The drawing at the right hand side of this plate is known as a 
paneled inside door frame. You must use precaution in drawing this frame 
as the cross stiles of the jamb must correspond or be on a line with the 
cross rails of the door which is to be used. The stiles and rails of this jamb 
are usually made Lj4" thick and one edge is plowed to receive the panel. 
The side and top stiles on the side of the frame where the door is to be 
placed is made wider than the opposite ones, according to the thickness of 
the door so that when the door is closed, they will appear uniform, in other 
words the stiles and rails of the side on which the door is hung must be the 
distance of the rabbet for the door wider than the opposite stiles and rails. 
A small moulding is sometimes placed around the edge of the stiles on the 
panels to make a more elaborate job but this is not absolutely necessary, 
The dado is the same as explained above. 

14 



LESSON NO. 11. 




No. 1. Lesson No. 11 consists of 2 light windows, transoms and sash. 
It perhaps, is to an extent, useless for us to go into detail concerning windows, 
as most every person who has worked at the sash and door business any 
length of time, knows how a window is made. However, we believe by 
following these instructions, you will learn points that you have heretofore 
overlooked. 

No. 2. The first detail numbering from left to right is the outside eleva- 
tion of an ordinary 2 light check rail window of the western layout. 

No. 3. The second detail is the same window with the top sash divided 
3 lights wide. 

No. 4. The third detail is the same window with the top sash divided 
9 lights. 

No. 5. The fourth detail is the same window with the top sash divided 
6 lights and the top divisions are smaller than the balance, making the two 
corner lights square. 

No. 6. In various mills you will find that the thickness of the division 
bars or muntins vary in width between the glass. The average width of 
muntins, between the glass used for dividing the tops of windows is ^2" 
and the sticking or design also varies, but the one shown in the enlarged 
full size detail is used largely throughout the west. 

No. 7 . If you have occasion to draw the sticking of windows the local 
design can be obtained in the easiest manner by going to the mill and cuttin°- 
a small piece from a stile and division bar which can be used to trace the 
design. The glass rabbet is always made 3/16" x^" for D.S. glass. 

No. 8. The drawing at the right in the upper right hand corner is a 
full size drawing of a check rail with a distance between 'the glass of the 
top sash and the glass of the bottom sash of 1 inch. (MANY TIMES YOU 
WILL ENCOUNTER SPECIFICATIONS CALLING FOR CHECK 
RAILS \y A ". THIS SIZE MEANS THE DISTANCE BETWEEN THE 
TOP SASH GLASS AND THE BOTTOM SASH GLASS IS 1^.) When 
drawing this lesson, note how the glass is placed in the top rail of the 
bottom sash which is the check rail and has the same bevel on any and 
all windows which is ^-inch to height of the check rail. 

No. 9. The drawing below the full size of the check rail just explained 
is the meeting rail of a plain rail window. This construction is used lar°-elv 
with an 8 light and 12 light window. The drawings at the left and at the 
bottom show a transom and a sash. The only difference between the 
construction of these two items is that the transom has a 2" rail all around 
while the sash, unless otherwise specified has a 3" bottom rail and 2" side 
and top rail and must be noted when figuring to use in connection with 
frames. If you do not specify or show that the 3" bottom rail is used, there 

15 



is a possibility that the sash frame jambs will be made 1 inch short as som< 
factories do not follow sash construction using a -V bottom rail. 



LESSON NO. 12. 




No. 1. Lesson No. 12 consists of a gable rake and false rafter ends and 
gable brackets. The drawing at the upper left hand corner shows a rafter 
.end in place. Drawing "A" is drawn to a scale of 3" to the foot. These 
rafters are usually made from material in dimensions the same as the regular 
roof rafters and the exposed ends are band sawed to a design like shown. 
(WE DO NOT MEAN THAT ALL RAFTER ENDS ARE MADE THIS 
DESIGN AS ANY DESIGN CAN BE WORKED OUT. WE MERELY 
SNOW THIS DESIGN AS A STANDARD.) 

No. 2. The length of the rafter ends are made according to the length 

of the roof soffit but in all cases the length should extend in from IS inches 

to two feet beyond the outside edge of the wall. This will enable a per- 
manent fastening to the rough or roof rafters. 

No. 3. Drawing "B" and "C" constitute a gable rake bracket. These 
are made various sizes hut usually from 4x4 material. These brackets are 
placed along the gable rake of the roofs for ornamental purposes only. Draw- 
ing "B" shows the side elevation of this bracket and drawing "C" shows the 
front or end view. This bracket is sometimes marie boxed from four pieces 
of one inch material and in this case the end that is to have a design has a 
solid block inside of the box and is put in between the two sides before the 
design is- sawed. The cost however, differs slightly. 

No. 4. Drawing "D" consists of a gable bracket of three members. 
These brackets are made in various sizes and designs also from various sizes 
of material. We are showing but one design and size so you will know the 
construction and if you have occasion to draw other designs and sizes at 
a future time von will have in your possession the knowledge of practical 
construction which will enable you to use your judgment according with 
what you are to draw. 

No. 5. The top member "E" of this bracket is 4x4x2-0 long to the back 
edge of the beveled face or design at the exposed end. The back member "F" 
is 4x4xl'-10^" long to the same point, which makes the bracket 2-0 high 
overall as the top member is notched \ l />" deep by 4", the thickness of back 
member "F". Angle member "G" is 4x4 and is notched into top member 
"E" 3 '4" back from the back edge of the beveled face or design. It is also 
notched into back member "F" in the same manner. 

No. 6. To show the elevation of this bracket, draw two perpendicular 
lines four inches apart, then draw horizontal lines parallel with top member 
"E" at the points where edges are exposed. Draw accordingly exposed edges 
of back member "F". Then draw diagonal lines from corner to corner oh 
the face of top member "E", which will denote the design of the end. then 

16 



draw on your elevation, drawing two bevel lines at the bottom one inch 
down from the center, which will denote the design at the bottom end 
of back member "F". The same design drawing is put at the bottom end 
of back member "F" and at the end of top member "F" in the side elevation 
as shown, which denotes the side view of the end design. 

No. 7. The drawing at the bottom consists of a flower box which can 
be made in any desired size. The size of this drawing of box is as follows. 
Face member "G" 13/16 x 10-\x" x 5-0 long - , the end members "H" are 
13/16" x lOjys" x 1-0, the top member "1" is l^"x3j/" and extends around 
the top edge of the box. Member "J" is a cove moulding placed beneath 
top member "I" and nailed to face end "G" and "H" and is mitred at the 
corners. 

No. 8. ddie drawing at the right hand side shows the cross section of 

this box including the bottom, which is 13/16" x 11 3/16". You will notice 

that a back is not included, but can be if desired. In this event it will be 
the same dimensions as the front "G". 

PRACTICE LETTERING BEFORE AND AFTER EACH LESSON. 
EXERCISE NEATNESS AND CARE IN MAKING ALL OF YOUR 
DRAWINGS. 

LESSONS NO. 13, NO. 14 AND NO. 15. 




.■■.. , 


. 


■>■,,_. 


zr^h. 


„ TOJ , i| 






■ 


■ 


.'■■ - | 


.•--,< 




'--. 


/• r -..- 


■■-■■ \\ 













No. 1. Lessons Nos. 13, 14 and 15, consist of exterior work for porches 
The large plate showing the floor plan and elevations of the porch are en- 
closed only to show the student how and where each of the various items 
are used and placed. . In this paragraph of this lesson we will explain the 
use of lattice panels, but will not make a lesson from it. 

No. 2. Lattice panels are used in the sp^ce between the brick piers at 
the corners and the side of the step buttresses and between the piers and 
the foundation of the house. This plate shows the lattice placed in the frame 
horizontal and perpendicular, leaving an open space between the lattice strip? 
square. 

No. 3. There is another construction of lattice in which the lattice 
strips are placed diagonally, leaving an opening between lattice strips of a 
diamond shape. Either of the two constructions are practical. 

No. 4. ddie frame is usually mitred at the corners and nailed together, 
ddie dimensions of the members of the frame are as follows: Bottom rail 4". 
side and top rails 2^4". 

LESSON NO. 13 

No. 1. Lesson No. 13 consists of top and bottom porch rail and balusters 
These rails and balusters when together are sometimes termed balustrades, 
but as a rule, the sash and door term used in connection with them, is to term 
each separately as top porch rail, bottom porch rail and balusters. 

17 



No. 2. The top porch rail in this lesson is a built up box rail, consisting 
of four members, top member "A", \y" x 3}i", side members "B", are made 
•)4"x3", bottom member "D", is made ^"xl^", or 1^6", depending on the 
size of baluster. The size of the top member "A", is also adjusted in accord- 
ance with the size of the baluster. Bottom rail "E" is made I^"x3-H}". 




No. 3. In drawing these porch rails notice that the top member "A" 
is beveled, which serves as a water drain. It is also plowed on both sides 
}i" in from the outside edge and the plow is 5/16" wide x 5/16" deep. Side 
members "B" are tongued at the top edge 5/16" x 5/16" and are moulded at 
the bottom edge as shown. 

No. 4. The balusters used in connection with this rail can be either 
l^s" or iys" and are spaced or put in place 3 inches on center (O.C.), this 
means that the measurement from the center of one baluster to the center 
of the next baluster, would be three inches and in a case where balusters are 
\y§" thick, the distance between balusters or the open space between would 
be about \y% . 

No. 5. Porch rails and balusters differ in designs and vary in sizes, there- 
fore, it will be necessary for the student to use his judgment when making 
a drawing for design and sizes, other than we have explained and shown. 

PRACTICE LETTERING BEFORE AND AFTER EACH LESSON. 
EXERCISE NEATNESS AND CARE IN MAKING YOUR DRAWINGS. 



LESSON NO. 14. 







No. 1. Lesson No. 14, consists of a porch column. The drawing at the 
left shows the finished column drawn to a scale of one inch to the foot. The 
floor plan of the porch elevations shows where these columns are placed on 
the porch. 

No. 2. Columns vary in size and design, therefore, we will describe to 
you the ordinary box column, as shown on this plate. The size of the column 

18 



shaft "A" at the base is 16 inches, while the size of the shaft "A" at the top 
is 12 inches. The cap of the column consists of two members, the cap 
proper is Lj4" by 4*/>" and is mitred at the corners as shown in prospective 
drawing. This cap projects beyond the sied of the shaft at each side 2V\" 
like "B". A crown moulding like "C" is placed beneath the cap "B" and 
extended to the shaft "A". This Crown Moulding is 13/16" x 2 ; >4" and is 
mitred at the corners and returned around the shaft. The base "D" is made 
the same as cap "B" only the thickness is 2 l /\." and the projection beyond the 
face of the shaft "A" is 2^4". A Crown Moulding is placed around the base 
extending to shaft "A" and mitred at the corners and carried around the 
shaft like "E". The size of this moulding is 13/16" x 3^". The thickness of 
lumber used in the construction of shaft "A" is usually l ] /$" thick. Two 
sides or members of shaft "A" are made the necessary width desired for 
the shaft and at each edge on the inside they are plowed 5/16" deep x ^4" wide, 
the two opposite members of the shaft "A" are made y±" less in width and 
are made with a tongue 5/16" deep x j^" wide as shown in cross section "G", 
drawn to a scale of 3 inches to the foot. 

No. 3. The drawing shown at the upper left hand corner of this lesson 
will show the construction of cap members and the top part of the shaft like 
"A", "B" and "C". This is drawn full size. 

No. 4. The drawing at the upper right hand corner of this lesson is 
the full size of the base members and portion of the shaft like "A", "D" and 
"E". This drawing is also drawn full size. 

No. 5. Drawing "H" shows one member of either the cap or base "I!" 
and "D" mitred. Drawing "I" is the end view of member "H". 

No. 6. In drawing columns in sizes larger or smaller than the one 
which we have explained and shown, allow three to four inch taper in the 
height where the column is six~ to eight feet long, in columns less than this 
length, allow taper of two inches. In order to get this taper exact, draw 
a center line perpendicular and measure from this line when laying" out the 
width of the column. For example, if your column shaft was to be 12 inches 
at the base you would measure at each side of your center line 6 inches. In 
this case the width of the shaft at the neck or top would be 8 inches, there- 
fore, you would measure four inches each side of the center line. At this 
point the projection of the cap and base from the face side of the shaft 
would be the' same as explained in paragraph No. 2. 

PRACTICE LETTERING BEFORE AND AFTER EACH LESSON. 
EXERCISE NEATNESS AND CARE WHEN MAKING YOUR DRAW- 
INGS. 

LESSON NO. 15. 




No. 1. Lesson No. 15 proper, consists of a buttress, the drawings at the 
top are the front and side elevation, showing the buttress complete. The 
base is drawn l^"x8" and the top is beveled so the water will drain and 



19 



at the same it makes a neater appearance, like section "CC". The bottom 
rail of the buttress is made lj^"x5>^" and the projection above th top of 
the base "A" is 4 ] /2 inch. The side stiles "C" are \y$"x3 l />" and the top 
stiles "D" are lj^"x3>4", both side stiles also the top and bottom rails are 
rabbeted to receive a panel }i" thick, which is tongued at each side and edge 
to lit the rabbet. NOTICE the full size drawing- "BB". Full size drawing 
"BB" is the cross section of the corner of the buttress and is drawn or 
taken from a point of the buttress where line intersects the stile and panel 
of the side elevation of the buttress marked "B". NOTICE that the cor- 
ners shown in this cross section are tongued and grooved, which is done to 
obtain a perfect joint. In order to construct the buttress in this manner, 
the stile on one side must be drawn 2s l /i inches overall and the mate stile or 
the one which is fitted with this stile is drawn 2-)4 inches overall. This will 
make the elevation of the stiles appear uniform after they are put together. 

No. 2. The inside portion of the buttresses are paneled and made the 
same as explained above, only the panel is made. on a triangle which is neces- 
sary, owing to the fact that the treads and risers of the steps are to fit in 
the bottom rail and a groove or gain is made for the accommodation of these 
treads and risers. 

No. 3. The dimensions of the risers of the steps are governed by the 
height from the grade line or surface of the ground to the top of the porch 
floor. This dimension divided by the height of each riser will give you the 
amount of risers. The usual height of a porch riser is not less than 6 inches 
and not over Sj/i inches (eight inches is the best riser you can use if it is 
possible to do so). The width of the run of the steps or treads is usually 
ten inches and is governed by the distance you have from the face of the 
porch floor joist out into the yard, so you may know that there is usually 
plenty of room. 

No. 4. The dimensions just given you to govern the rise and run of 
the porch steps are the measurements of the carriage or rough horses. The 
carriage or horses are made from a 2x8 or 2x10 and the rise and run are 
cut like "DD", 8 inches rise and 10 inches run, or whatever the case may 
be. Notice that the finished tread or step extends over the face of the riser 
\ x /z" and the rear edge of the tread is tongued to fit a groove in the bottom 
edge of the riser. 

No. 5. The buttress is finished with a cap, which is 1^4"x28" in this 
drawing, but this width is governed by the width of the buttress. In all 
cases regardless of the buttress width the cap projects on both sides and 
face side 2 inches. This enables you to finish at the intersection point of the 
cap and sides with a cove $/\" x %". This cove is mitred at the corners which 
makes a neat and finished job. 

No. 6. The last tread is not termed a tread but is a nosing. This nosing 
is made l''s", the same thickness as the treads, only it is 4^S" wide and is 
rabbeted .at the rear edge V\" x 2" and is placed over the edge of the porch 
floor joist. By placing a rabbet at the rear edge it enables the flooring of 
the porch to fit against it and both the top of the nosing and the top of the 
porch floor are even, or come flush with one another. 

No. 7. The drawing at the right hand side of this lesson is the full size 
section of the base taken at a point on the buttress "C — C". This is drawn 
to show how it is placed against the bottom rail of the buttress. Also to 
show the bevel at the top. 

No. 8. It is useless for us .to give you a separate lesson on porch steps 
as we have explained in this lesson the principal parts of their construction. 

No. 9. In drawing this lesson make all of the drawings as explained and 
shown by the lesson. (PORCH ELEVATION EXCLUDED.) Then draw 
the front elevations of two buttresses and include between them an elevation 
of a porch step fitted between the buttresses. This will enable us to know 

20 



definitely if you thoroughly understand this lesson. 

No. 10. In drawing- these steps, figure that the rise overall will be four 
feet (4 ft.) and the number of risers will be six (6). The thickness of the 
treads will be 1 ' s" and the nosing to be \y&" also. 

No. 11 REMEMBER THAT PORCH STEPS VARY IN THEIR 
DESIGN AND THAT THE PUPIL MUST USE JUDGMENT AS TO 
THEIR MANUFACTURE. FOR YOUR BENEFIT WE WILL SAY 
THAT REAR PORCH STEPS ARE MADE IN THE SAME MANNER 
ONLY THE BUTTRESSES ARE SELDOM USED. IN THIS CASE 
STRINGERS ARE USED AND THEY ARE SAWED FOR THE 
TREAD AND RISER IN PLACE OF BEING GAINED OR ROUTED 
OUT. IN THIS CASE THE EDGES OR SIDES OF THE TREADS ARE 
NOSED OR ROUNDED OFF AND THE COVE MOULDING IS RE- 
TURNED AT THE SIDES TO MAKE A FINISHED JOB. 

PRACTICE LETTERING BEFORE AND AFTER EACH LESSON. 
EXERCISE NEATNESS AND CARE WHEN MAKING YOUR DRAW- 
INGS. 

LESSON NO. 16. 




No. 1. Lesson No. 16 consists of five designs of doors, numbering from 
left to right as follows : 

No. 1. 5-Panel for interior use. 

No. 2. 3-Panel bottom and 1 light, for exterior use to correspond 

with 5-Panel interior. 
No. 3. Slab or sanitary doors for interior use. 
No. 4. Are sanitary or slab doors used for exterior use, usually 

when slab doors are used inside, however, they are used 

outside at times when other design of doors are used 

inside. 

No. 2. The interior slab door is a very easy door to draw as all that 
is necessary is four lines layed out in the proper size. 

No. 3. The front doors No. 4 and No. 5, are the same as No. 3, only lights 
of glass are placed in the top portion. This is done by jig sawing an opening 
the size desired and planting around the opening for the glass a raised 
moulding, which serves as a glass stop and helps to make a neat finish. The 
apron which is placed below the glass is a flat piece of the same wood as the 
door, 2 T 4" thick by 2 1 // wide and the false brackets below are made the 
same only U/a" thick x 2*4" x 2]4". These pieces are glued and nailed on 
the door. 

LESSON NO. 17. 

No 1. Lesson No. 17 covers doors of both interior and exterior designs. 
We will leave this lesson -almost entirely to the student to ferret out in his 

21 



own manner, as all of our students are employees of the sash and door 
business, they are familiar with the various designs that are manufactured. 
There is one thing, however, of importance and that is the layout or correct 
dimensions of the stiles, rails, panels and glass sizes. In the practical work, 
an office man or detail man has occasion to know the exact panel sizes, also 
must know the glass size in many instances. Now, if you are detailing a 
door it is necessary to know the dimensions of all the members of the doors. 
Each factory has a different layout on this product, therefore, if you have 
occasion to change your position, always ascertain the local door layouts 
from the foreman in the door department before making details, UNLESS 
YOU ARE FOLLOWING AN ARCHITECT'S DETAIL. 




No. 2. Lesson No. 17 shows four designs of doors as follows, num- 
bering from left to right : 

No. 1. 5 X Panel door. 
No. 2. 3 X Panel bottom and 1 light. 
No. 3. 4 Panel. 

No. 4. 2 vertical panel bottom and 1 light. 
No. 1 is used largely for interior uses; No. 2 is used largely for exterior 
purposes when No. 1 is used for interior; No. 3 and No. 4, are used accord- 
ingly with each other. 

No. 3. The measurements on the stiles and rails are the size on the 
solid or face measure, which means that they are taken from the outside edge 
of the stiles to a point on the inside edge where the sticking or moulded 
design starts. When the measurement term overall is used, it is understood 
to include the sticking. MEASUREMENTS AT ALL FACTORIES ARE 
ALL TAKEN. AT THESE POINTS WHEN MEASURING DOORS. The 
sticking in this lesson is what is known as O.G. and all panels are raised at 
the edges as shown in the enlarged drawing at the bottom. 



LESSON NO. 18. 




22 



No. 2. 

No. 3. 
No. 4. 



Lesson No. IS shows interior doors, as follows: 
No. 1. 2-Panel with laminated Panels. 

1-Panel and 1 light used for exterior purpose, when the 

2-panel door is used inside. 

1-Panel with a laminated panel. 

1 light, used for exterior purpose when the 1 -panel 

door is used inside. 

No. 2. The measurements of the stiles and rails are taken from the same 
points as mentioned in lesson No. 17. The sticking- in this lesson is Cove 
and Bead. Sticking designs are determined from a point on the face of the 
stile back toward the panel (in this sticking the bead of the sticking design 
will be where the sticking joins the panel). 

No. 3. The enlarged drawings at the bottom, show the construction 
of the doors No. 1 and No. 2. NOTE that the panels are laminated 3-ply, 
meaning that they are made up of 3 pieces glued together or veneered. These 
pieces are put together so the grain of the center member will run opposite 
the grain of the two outside members insuring strength. 

No. 4. The first enlarged drawing at the right, reading from the left 
side is an enlarged drawing, showing the glass rabbet and how the glass 
and wood stop, which holds the glass in place, are placed. 

No. 5. The drawing at the extreme right upper corner is a cross section 
showing the stile and panel of the door No. 3. NOTE this panel is 3-ply 
also. The panel, however, is made the same as explained for door No. 1 and 
No. 2, and the sticking is also the same. 

No. 6. In drawing doors with laminated panels, follow the schedule 
below when panels are 3-ply and y&" thick. 

No. 7. The veneer is usually y&" thick on both sides and the balance, 
to make up the thickness of the panel which is tyi" thick is the thickness of 
the core. 

No. 8. The finished edges of the stiles and rails of veneered doors, in- 
cluding the part on which the sticking is placed is usually \}i" x [ A" for 
\-}4." doors and 1^4" x V/z" for U4 doors and on doors thicker than explained, 
the size increases in width accordingly. The size of a panel laminated 3-ply 
is y%" thick. 

LESSON NO. 19. 




No. 1. Lesson No. 19 shows two designs of French doors. These doors 
can be divided any desired design but the designs shown herein are used 
laro-ely. In the first detail at the extreme left of the plate, ^the door is drawn 
with a 12" bottom rail and 4>4" side and top rails, and* the divisions are 
V 2 " between glass, and \ l / 2 " overall. 

No. 2. The other design is drawn the same only the lights in the 

23 



corner are square and the balance of the lights will work nut automatically. 

No. 3. The enlarged full size drawing at the bottom shows the cross 
section of the stiles, top rail and bottom rail. Also the sticking and the 
depth of the rabbet, the location of the glass and the glass stops. The 
other enlarged full size drawing is the muntin or division bar showing the 
sticking. Note, it is stuck on both sides, also note the rabbet where the glass 
and glass tops are placed. 

No. 4. The enlarged drawings at the right show the stiles with four 
different stickings, which can be used in connection with panel doors, front 
doors, sash doors and French doors.. The first detail numbering from the 
left to the right is what is known as Ovalo sticking. The second is known 
as P.O. sticking. The third is known as raised Mould. Note when this 
moulding is used the stile and rails are stuck square and the moulding is 
planted on the door around the panels or around the glass openings as the 
case may be, after the door is put together. The fourth is known as flush 
Mould and is put up and stuck the same as described for the third. 

No. 5. BEAR IN MIND THAT WHEN FRONT DOORS OR 
FRENCH DOORS ARE DIVIDED LIKE SHOWN IN THIS LESSON, 
THE MUNTINS OR DIVISION BARS MUST BE THE SAME STICK- 
ING AS THE SIDE, TOP AND BOTTOM RAILS. THE STOPS 
WHICH HOLD THE GLASS IN PLACE ARE USUALLY THE SAME 
DESIGN TO CONFORM WITH THE STICKING. 



LESSON NO. 20. 




No. 1. Lesson No. 20 shows two designs of Garage or factory doors. 
The detail at the left has a matched and beaded ceiling panel and the top 
is divided six lights. The sticking on these doors is square and the glass stop 
is plain of most any design, unless you are working under the government 
of specifications. The panel has two pieces placed on both sides of the 
ceiling, diagonally from each corner. This helps to beautify the design as 
well as serves for strength. The thickness of these pieces is governed by 
the thickness of the door, which the student can work out. For a door 2%" 
thick these pieces are % of an inch, as you can determine by measuring 
from the face of the panel to the face of the stile on the enlarged full size 
section of the bottom rail . The second detail shows a similar door, made 
four panels. The construction, how r ever, is the same except the diagonal 
p'ieces are omitted from the panels and the ceiling in the panels is placed 
diagonally in place of perpendicular. 

No.. 2. The third detail is that of a toilet door. Note the stiles and rails 
are made smaller than the other doors owing to the size in which these 
doors are usually made. The sticking is square as shown by the enlarged 
full size details at the right and the panels shown here are 3-ply! laminated. 
(A SOLID PANEL CAN BE USED.) The top and bottom "ends of the 

24 



stiles arc extended beyond the top and bottom rails and are band sawed 
or made with O.G. lugs. This is to aid the design. 

LESSON NO. 21. 

Interior trim or finish as it is sometimes termed is rather difficult to 
explain, but if you will follow the rules below you will encounter little 
difficulty in detailing any design. 

No. 1. Interior trim is made in many designs and the size of the cap 
or head is governed by the design. 

No. 2. Trim shown in lesson No. 2 and No. 3, are what is termed 
3-member cap trim and the usual designs of the three members are No. 8393, 
No. 8394, No. 8395, the side casing is usually No. 8309 in size Ya" x 4 t 4". 

No. 3. Door trim consists of cap or head, side casing base blox and stops. 

No. 4. Window trim consists of a cap or head, side casing, stool, apron 
and stops. Extension jambs when the wall is Brick and wider than 9 inches. 
Sec lesson No. 4. 

No. 5. Draw the cross section head of a three member trim, like the 
cross section drawing on detail of lesson No. 2. The fillet No. 1 is placed 
flush with the head jamb "B" of the frame in size (7/16" x^"). The head 
casing No. 2, is placed above the fillet and is size %." x 4'jH$", No. 3, the cap 
mould is put on top of the head casing No. 2. and is size \}i" thick x 2 T / 2 ", 
the face edge or front of the cap mould No. 3, is moulded to a design as 
shown. You now project lines horizontal and each projecting line is to pro- 
ject from an exposed point of the cap mould, head casing and fillet as shown. 

No. 6. Drop down on your section, drawing about 12" and draw the stool 
No. 4, which is size \ ] /$" x 3^"- Note how it is rabbeted at the edge that 
fits over the sub-sill of the frame and against the window. Below the stool 
draw the apron No. 5, which is y\" x 3- s s" and include the cove or apron 
mould No. 6, which is size Y\" x %". This cove is not always used, but 
when included, you can obtain a neater job. Now project lines the same 
as explained for the head. Side casing must also be drawn in the cross 
section as shown at jamb "G" of the window frame, this casing is Y\" 
x4 / I 4"i but is not projected as is the case with the others. However, it is 
shown in the elevation drawing, but the face side is shown as you will 
note by the elevation drawing at the left side of the cross section like No. 7. 
The window stops are drawn at the head and side, as shown by No. 8. These 
stop sizes are governed by the frame construction, and in this case they are. 
^"xl^". They are used to hold the bottom sash of the window in place 
and also to cover the joint where the cap and head jamb meet, and where 
the side casing and the side jamb of the frame meet. 

No. 7. You now have the head casing and the stool projected as well 
as having the cross section drawn showing the design and position of each 
member. At the extreme left draw a perpendicular line from the bottom 
of the apron No. 5 to the bottom edge or bottom line of fillet moulding- 
No. 1. MAKE THIS LINE LIGHT AT FIRST. Then project the stool 
No. 4 beyond the edge of the side casing No. 7. THIS PROJECTION IS 
ALWAYS THE SAME DISTANCE BEYOND THE SIDE CASING, AS 
THE STOOL PROJECTION IS OUT FROM THE FACE OF THE 
SIDE CASING. The end of this stool must be drawn to show the design, 
on the same lines as the face design which indicate chat it is returned to the 
wall. Drop below the stool and insert the edge of the cove or apron moulding- 
No. 6, showing the end where it returns to the wall following the stool. 
This projection beyond the apron is -]4", the -^ize of the cove. The design 
is coved also as shown which represents a mitred. Now project the fillet 
No. 1 of the head 5/16" beyond the edge of the side casing No. 7. same as 
it projects out from the face of the head No. 2 in the cross section. The cap 
moulding No. 3, is also projected the same as the other members mentioned 



and projected 1^4". the difference between 2*4", the width of the cap No. 3, 
and 24" the thickness of the head No. 2. The design is drawn at the pro- 
jecting edge, graduating it on a degree from the extreme point of cap No. 3, 
to the edge of the head casing No. 2, where it stops. You now finish the 
side casing, measuring it 4^4" wide as stated above, stoping it at the bottom 
edge of the fillet No. 1, and to a point at the top of the stool No. 4. 

No. 8. Draw another perpendicular line Y/ out from the edge of the 
side casing which represents the window stops No. 8. This stop is also 
drawn or returned across the head at a point directly below the fillet No. 1 
of the head. At the intersecting corner of the stop draw a line from corner 
to corner which denotes a mitre. The stiles and the bottom rail of the win- 
dow can also be inserted if desired, but it is not absolutely necessary. IN 
DRAWING THE TRIM IT IS NOT ESSENTIAL THAT YOU FOL- 
LOW THE INSTRUCTIONS GIVEN ONLY TO SIZE, IF YOU FIND 
THAT ANOTHER WAY IS EASIER. ALSO IT IS NOT NECESSARY 
TO DRAW THE FRAME UNLESS YOU DESIRE TO DO SO. 

No. 9. Door trim is drawn the same as explained above only you elim- 
inate the stool, apron and apron mould, and the casing is extended down to the 
top of the base blox as shown in the elevation drawing of the interior trim, 
LESSON NO. 3. Doors are cased reveal, meaning (that the head and 
side casings are set back *4" from the face side of the jamb, not requiring 
stops to cover the joint as explained for window trim. The sizes of the 
trim members are the same as the window trim except the stops, which 
are /."xl^s". and are used only in connection with interior doors, the base 
blox are \H" thick x 4/4" wide x 10" high. 

LESSON NO. 22. 

No. 1. Lesson No. 22 is of inside trim also, but of another design as you 
will see by referring to the detail of lesson No. 4. The head is drawn 1 1 /%" x 5" 
and the edge is rounded, also the corner to correspond. This head is one 
member 1 1/16" thick and as the side casing is $£" thick, it is necessary to 
project the head beyond the edge of the side casing 3/16", making the pro- 
jection beyond the face side and edge of the side casing uniform. The stool is 
projected the same as explained in lesson No. 21, paragraph No. 6, only in 
drawing the cross section of this stool note that it is used in connection with 
a brick wall 13", and as you know from studying your frame, that the win- 
dow frame does not cover the full thickness of the wall, something must 
be done inside to prevent the rough work from being visible on the interior. 
The answer is a wide stool, so you use a stool l%" x 6%". It is also necessary 
to use a sub or false jamb like "E" of the cross section to] cover the rough 
work at the sides and head. When this sub jamb is used you reveal the 
head and side casing T 4" the same as mentioned for the door trim in lesson 
No. 21, paragraph No. 9, as the stops are set against the sash of the window- 
it is useless to have them wide enough to fit against the edge of the side casing 
as is the case with an ordinary frame. The stops for this trim are }4" x \}4" 
and are placed at the side and returned over the head, same as explained in 
lesson No. 21, paragraph No. 8. The apron is the same as the previous 
trim lesson and the side casing is drawn perpendicular, the same as explained 
in lesson No. 21, paragraph No. 6. 

No. 2. IF YOU HAVE TRIM FOR A 9" wall, the stool sizes arc the 
same as in an ordinary stud wall except the rabbet is l?/s" wide and the 
stops are 1/4". Also the sub or false jambs are omitted. 

No. 3. Door trim as shown in plate No. 5 is drawn the same design 
and sizes as shown by the detail of lesson No. 4 only the stool, apron, stop 
and sub-jambs are omitted and the base bloxs are used as explained in 
lesson No. 21 paragraph No. 9. 

26 



LESSON NO. 23. 

No. 1. Window trim or inside finish as shown in detail of lesson No. 
6 is the same as explained in lesson No. 21, only the head or cap is what is 
known as Coved head. The size of this head is 1 1/16" x 5^". The thick- 
ness 1 1/16", is the measurement at the top and the measurement at the 
bottom is Y%" . The difference between the two measurements just given 
is the depth of the cove or design. The stool is drawn the same as explained 
in lesson No. 21, only its size is l^"x4j//'. This difference in size is due 
to the fact that in this lesson No. 6, it is used with a brick veneer building 
frame. The apron is drawn the same and is the same size as explained in 
lesson No. 21. The stops are drawn the same as explained in the other lessons 
only they are in size Yi" x2)/\" . 

No. 2. In drawing the elevation of this trim project lines as explained 
in the other lessons carrying the stool beyond the edge of the side casing, 
the same distance as the projection of the stool out from the face of the side 
casing and do not overlook the fact that the head casing is projected beyond 
the edge of side casing, the difference between -)4", the thickness of the 
side casing and %", the thickness of the head casing at the bottom. 

No. 3. IN DRAWING TRIM DETAILS FOR WINDOW FRAMES 
WHERE MULLIONS ARE USED, ALWAYS SHOW A DETAIL OF 
THE MULLION CASING IN THE CROSS SECTION DRAWING 
THIS CASING MUST BE PLACED ON THE MULLION THE SAME 
AS THE SIDE CASING IS PLACED ON OR AGAINST THE SIDE 
JAMB OF THE FRAME AND IS ALWAYS MADE THE SAME THICK- 
NESS AS THE SIDE CASING AND THE FULL WIDTH OF THE 
MULLION. IN LESSON NO. 6, THE MULLION IS SIX INCHES 
WHICH NECESSITATES A SIX INCH MULLION CASING. 

No. 4. Door trim as shown in the detail of lesson No. 7, is the same de- 
sign as the trim in the detail of lesson No. 6. When drawing this trim, fol- 
low the explanation given in this lesson, only remember the stool, apron 
and stops are omitted and the side casing is extended down to fit against 
the base blox. The cross section of base blox is shown in the detail of les- 
son No. 7, projecting out from the face of the side casing. Remember when 
drawing door trim a reveal of the head and side casing is allowed, it being 
% of an inch beyond the inner edge of the door jambs rabbet. 

LESSON NO. 24. 

No. 1. Lesson No. 24 of trim as shown in the detail of lesson No. 8, is 
what is known as Peak Head cap design. The dimensions of this cap are 
1 1/16" thick x 5j/>" high at the center or extreme high point of the peak. The 
side casing is the same as the preceding lessons. The stool is drawn the same 
only it is 1 1/16" x 5^4" and the size and design of the rabbet differs from the 
rest of the stools as in this lesson, and detail of lesson No. 8. The drawing 
shows it used with a casement sash frame, the sash of which swings out and 
is placed as explained in lesson No. 8 of frames. The apron is the same as 
the preceding lessons. 

No. 2. In this lesson, the stops must be sufficiently wide to cover the 
jamb of the frame to avoid the jamb exposure to the interior, therefore the 
stop is drawn the same as the other lessons only it is j4"x3^4". 

No. 3. In projecting your lines in this lesson when drawing the ele- 
vation of the trim extend the stool as explained .in lesson No. 21, paragraph 
No. 7, and extend also and project the cap as explained in lesson No. 22. 
You will note that a part of the head cross section does not show cross hatch 
lines, which indicates that only a part of this drawing of the cap shows 
the cross section. This cross section dies or stops at a point parallel with 
the height of the head casing at the side or narrowest point. The balance 
of the cross section indicates the slope or distance of the peak, which is 

27 



one inch, as shown not cross hatched. Project the head and stool beyond 
the side of the side casing as explained in preceding- lessons. 

No. 4. The detail of lesson No. 9, will show the same design trim as 
explained in lesson No. 23 and is drawn the same except that the stool is 
made l y '/x"x2^" and has a rabbet which in reality is a tongue to fit a groove 
in the sill of the frame. You also omit the stops, as this plate covers a 
casement sash in a frame, the sash of which swings in. Notice that the 
stool is placed j4 of an inch below the bottom edge of the sash bottom rail, 
which is to allow ample room for the sash to clear the stool when opened 
and closed. Project the head and stool beyond the side of the side casing 
as explained in preceding lessons. MULLION CASING IS ALSO DRAWN 
THE SAME AS EXPLAINED FOR THE OTHER MULLION CAS- 
INGS ONLY IN THIS IT IS SMALLER AND CASED REYEAL. 

PRACTICE LETTERING BEFORE AND AFTER EACH LESSON. 
EXERCISE NEATNESS AND CARE WHEN MAKING YOUR DRAW- 
INGS. 

LESSON NO. 25. 




No. 1. Lesson No. 25 consists of two designs of medicine cases. These 
are many other designs used, but these two are used largely in most local- 
ities. 

No. 2. The detail at the left shows a medicine case used in an ordinary 
2x6 stud wall, trimmed with a head cap of a coved design, the same as 
explained in lesson No. 21 of the interior trim. Other designs can be used 
and it is always customary to use the same design as used for the balance of 
the room where these cases are placed. The stool in this case forms the 
bottom of the medicine case and the apron is the same as the apron of the 
window trim. Also the side casing is the same as the other trim side casing. 
The case proper is fitted with three adjustable shelves. These shelves arc- 
made adjustable by means of boring holes in the side jambs and placing 
threin shelf supports of metal for the shelf to rest upon. There are some 
factories that use the ratchet strips for this purpose. (A RATCHETT 
STRIP IS A PIECE ABOUT y 2 " SQUARE NOTCHED OUT EVERY 1" 
IN ITS LENGTH AND THEY ARE NAILED TO THE JAMBS ONE 
IN EACH CORNER, BETWEEN THEM ON THE JAMB IS PLACED 
A STRIP TO FIT THE RATCHETT AND THE SHELF REST ON 
THE STRIP.) 

No. 3. The enlarged drawings at the bottom are one-half full size draw- 
ings of the sections taken at lines "AA" and "BB". "AA" is the head jamb 
showing how and where the cap of the trim is placed. "BB" is the side 
jamb showing how and where the side casing is placed. Also how and where 
the door is placed. Note each one of the casings is placed back )/\" from the 
inside face of the jamb to allow a space to stop the door. The depth of 
this case overall is 5jj". The door is fitted with a bevel plate mirror, in 

28 



size, 16x20. The door for this mirror is made the same as a sash and a 
thin panel back is placed in the rabbet for the mirror to rest against and 
the mirror is placed on this backing and stopped in the door with a small 
wood stop. Section "CC" is the enlarged one-half full size section through 
the bottom, showing the stool and apron. The back is shown in all of the 
cross sections and is made from Y%" beaded ceiling, unless otherwise specified. 

No. 4. The detail drawing at the right of the one just explained is 
drawn the same only a drawer is placed in the bottom as shown directly 
beneath the stool or bottom of the case. Note the enlarged one-half full 
size drawing of the drawer at the right of this plate. This shows the cross 
section and the exact construction. The face or front of the drawer is usually 
made to lit flush as shown, especially in a small drawer of this kind. When 
using this medicine case, the rough opening depth in the wall is the same as 
the smaller one, except in height which is governed by the size of the drawer. 

LESSON NO. 26. 







W7^: 



-^ 



■S^..^ of X^ 



[ 



No. 1. Lesson No. 26 is a mantel shelf which needs little or no explana- 
tion as you can see plainly that it is nothing more than a few pieces or 
members put together. The thickness of the mantel shelf is usually 3 inches 
and the width out from the breast of the chimney (WALL) is from 12" 
to 24", in this lesson it is 24", an apron is placed below and above the shelf 
with accompanying coves to make a neat and finished job. 

No. 2. At the bottom of this plate you will see the correct construction 
of this mantel shelf as the cross section shows. The apron shown below 
the shelf on the cross section has broken lines ncessary, owing to space and 
in this case, the exact size is inserted in figures to show the width or it can 
be obtained from the elevation drawing. The balance of the mantel shown 
is never or seldom if ever, included with the mill work, and in case you come 
in contact with it, it is best to send a detail to the mantel people and have' 
them figure the necessary tile. 

No. 3. The question arises in the mind of the student as to how these 
mantels are held in place in the brick chimney. The answer is, blocks are 
placed in the brick work when the chimney is being laid up, which enables 
the carpenter to nail the mantel to these blocks This, however, is cared for 
by the contractor. 

LESSON NO. 27. 

No. 1. Lesson No. 17 is a colonnade which consists of two columns and 
two pedestals. There are many designs of colonnades, the same as other 
items of this course, but the construction is practically the same with all. 
We have endeavored to select a design which is used largely and if you learn 
the construction of it thoroughly, you will be able to detail designs that 
we have not shown. 



29 



No. 2. In drawing a colonnade it is best to make a floor plan drawing 
first. Draw a wall 6" wide (which will represent in realty, a 5J4" wall), 
then draw the top of the pedestal which should show 16" wide by 3-0 long. 
(The Opening where the colonnade is to be placed is 8-0 or larger), this top 
returns back on the wall 7" or to a depth to the back of the back lining 
board of the pedestal. Then show the casing on both sides of the wall and 
the jamb between the casings. REMEMBER THE CASING IN THIS 
CASE REVEALS %" BEYOND THE FACE OF THE JAMBS. As ex- 
plained in lesson No. 21 of inside door trim. You then draw the column base 
and place it on a line with the face side of the pedestal, which leaves a pro- 
jection from the edge of the pedestal top 2". then draw the shaft the size 
at the base which is 8 inches. The base block is 12". Draw the other pedes- 
tal the same as just explained for the first. 




No. 3. You now project perpendicular lines up and draw the elevation 
of the pedestals which are 3-0 wide overall x 3-6 high overall. Then work 
back toward the floor line, drawing the cap first and show the door with its 
divisions. After completing the pedestal, draw the columns. Note these 
columns are 6" at the top and 8" at the base of the shaft. To enable you 
to draw these exact, we advise the use of the center line which is measured 
at the base and is drawn perpendicular but very light. Then when you draw 
the column shaft, work from this line on both sides. (FOR EXAMPLE) 
If your column is 8" at the base you lay out 4" on both sides of the center 
line at the bottom and 3" on both sides of the center line at the top, which 
will give you 6" shaft at the top and 8" at the bottom. The base and cap are 
included as shown projecting out from the shaft as you can measure from 
the drawing, and a P. & G. moulding is broken around the shaft at both 
the cap and base. 

No. 4. The drawing at the right of the elevation drawing is the face 
of the inside elevation of the pedestal. The other elevation drawing at the 
right is the elevation of the back, showing how it is paneled. The balance 
of the drawings are full size drawings showing the cross section construction 
at the various places as numerated as "A A", "BB'\ "CC", "DD", and "EE". 
We will not explain the section as the student should know how to follow 
them himself by this time, therefore, include them with your lesson and 
show by the cross section, location letters, where they belong on the ele- 
vation drawings after you have drawn them. 



LESSON NO. 28. 

No. 1. Lesson No. 28 is a linen case. To draw this case, draw a floor 
plan, showing the counter top 22" wide x 5-5 long, then draw the top portion 
of the linen case on the floor plan right on top of the counter top, making it 
12" deep x 5-0 long. This in reality is a cross section at a point just above 
the counter top on top of the bottom portion of the case. Include cross 

30 



hatch lines in this drawing on the back and ends also the part of the front 
that is solid and the door stiles. The panels of the doors are represented 
by horizontal lines. 




No. 2. To draw the elevation project lines perpendicular to the desired 
height, which is 7-0 to the top of the case proper and above, this is the 
cap of the trim so you will have to project 5-Hs" above 7-0 making the height 
overall 7-5^". After showing both sides in this manner, draw the base which 
is 6" and then finish the sides or stiles which are 3". Then insert the drawers 
starting from the top of the base and make each drawer 12" high. The 
division strips between the drawers are 1". The counter top is 1^" thick 
and projects at the sides \}i" and a cove moulding No. 8060 is placed 
beneath the counter top to cover a joint and make a complete and finished 
job. The doors are drawn as shown with the stiles and top rails 2" and the 
bottom rail 3", the side casing is 3" also, the same as the stiles of the bottom 
case. The top of the cap is drawn the same as explained in window and 
door trim. The drawing at the right of the elevation is the end view and the 
next drawing is the cross section taken on a perpendicular line to show 
where the drawers are placed inside the case, also to show the shelving, 
which is not shown in the other drawing. 

No. 3. The enlarged full size drawing on the left at the bottom is the 
comer construction cross section showing how the doors are placed and 
how the front members with the sides. The enlarged full size drawing at the 
right is the cross section of the cap mould, showing how it projects j4" 
above the inside face of the top of the case to form a stop for the door. 

LESSON NO. 29. 




No. 1. Lesson No. 29 consists of a kitchen cupboard. These cupboards 
are seldom, if ever, of the same design, but if the student knows the con- 
struction of one, he can draw another design with ease. 



31 



No. 2. Draw the floor plan as explained for the linen case, lesson No. 28, 
only note that this case is recessed in the wall. (MEANING THAT THE 
ENDS OF THE CASE ARE NUT EXPOSED.) The top of this case is 
14" deep overall and the bottom is 20" deep. The floor plan is a cross section 
taken on a line through the doors of the top and drawn with the impression 
of looking down from this point. The ends and sides are Y\" thick and the 
back is «Hs" ceiling. 

No. 3. When drawing the elevation draw perpendicular lines and lay 
out the frame, allowing the bottom rail to be 4", the side rails are 3". Then 
insert the door and bin which show the same on the elevation. These are 
placed at either side. Include the division strips between the door and 
drawer and the space utilized by the drawers which are to be 1 inch. Then 
include the drawers inserting similar strips between them, which are the 
same size. The three kneading or bread boards are placed above the door, 
drawers, and bin and are divided by a strip the same dimensions as the other 
division strips. The kneading boards are \y%" thick. Above these boards, 
place the counter top, which is l}i" thick and place a cove }i" x y% below, 
the counter top, which is extended beyond the sides 2 inches. Above the 
counter top leave an open space of 12" and place above this space a row 
of drawers with the division strips below and between 1 inch. The divi- 
sion strips above are to be 2 inches. Above this, place three doors. 
These doors will have a 3" bottom rail and 2" side and top rails, and the 
space for panels will be filled with glass, or panels as the design demands 
or as you desire, to draw them. Above them is the cap which is a two 
member design. 

No. 4. The drawing at the right is the cross section taken at a line 
"A A" looking from a side view. Note how the bottom of the cupboard is 
set above the edge of the bottom rail J4" to form a stop for the door. The 
same is true with the top of the bottom just below the kneading board and 
a shelf is placed in the center. The same construction applies to the top 
as you will note by studying the drawing carefully. 

No. 5. The drawing at the right which is an enlarged full size section 
of the drawers will enable you to know their exact construction. 

No. 6. The drawing at the bottom is the enlarged drawing drawn to 
a scale of 3 inches to the foot and shows the cross section of the flour bin. 
This bin when in place is hinged to the top of the bottom rail of the frame 
or the member at the floor line. 

PRACTICE LETTERING BEFORE AND AFTER EACH LESSON. 
EXERCISE NEATNESS AND CARE WHEN MAKING YOUR DRAW- 
INGS. 

LESSON NO. 30. 




No. 1. Lesson No. 30, consists of a buffet. Buffets of this design are 
set against the wall and project into the room. 

32 



No. 2. Lay out the cross section, floor plan as explained in lesson 
No. 28, paragraph No. 1, this section is taken at line "GG", therefore, show 
the cross sections of hoth ends, hack and the two division partitions, also 
the drawer through which this section line passes, this will denote that the 
balance of the drawers are to he constructed the same only the bottom drawer 
will he longer as shown in the elevation. 

No. 3. Draw cross section taken at line "AA". This shows the section 
of all the drawers. The depth overall is IS inches. 

No. 4. You now draw cross section taken on a line at "BB" which shows 
the section through the doors and bottom drawer. Note it has a top and 
bottom, and a shelf in each portion where the doors are placed. 

No. 5. Yon now draw perpendicular lines from the floor plan and 
horizontal lines from the section to draw the elevation. Draw the base 
4", the sides stiles 4" and the top rail just below the counter top, 2", also 
show the cove Y\" and the counter top l-v*" thick and project the top 2. 
beyond each side. The divisions between the doors and drawers are 2" 
wide. The side and top rails of the doors are also 2" and the bottom rails 
of the doors 3". The division between the drawers are 1" wide. Just above 
the counter top, draw the mirror. The lines around the mirror denote the 
bevel, which is lA"- The top rail above the mirror is 2" and the cove 
is Y\" , the cap is l-;4" thick and is projected at each side V/z" . 

No. 6. The enlarged drawing at the extreme right hand of this lesson 
upper corner is a full size drawing showing the construction of the cap, cove, 
mirror and mirror frame. 

No. 7. The enlarged drawing just below this drawing is a full size 
section taken on a line at "CC" showing the mirror -and frame. Also the 
manner in which it is placed in the frame of the buffet. 

No. 8. The enlarged drawing taken on the line at "EE" is a cross 
section of the counter top, showing the construction, also showing how the 
ceiling back of the bottom portion is fitted in a rabbet and how the bottom 
of the mirror is held in place on the counter by a quarter round. 



LESSON NO. 31. 




No. 1. Lesson No. 31 consists of a china case. After explaining the 
kitchen case, there is little to explain about this china case. Only that it is 
best to draw a floor plan of both the top and bottom sections as shown. 
Note the floor plan of the bottom is taken on a line at "DD" and the top 
on a line at "CC". This china case sets in a recess of the wall, the same 
to]) on a line at "CC". This china case sets in a recess of the wall, the same 
as the kitchen case, only it is the same depth in both the top and bottom 
sections. After drawing the floor plan and sections project lines and draw 
the elevation, using a 4" bottom rail and place the drawer above this point. 
The divisions between the drawers are 1", the same as explained in lesson 

33 



covering kitchen case. The divisions between the doors and the drawers 
are 2". The counter top is \y%" and projects at the sides 1". It also has a 
cove beneath it. The open space is allowed 12 inches and at the back and 
ends is placed bevel plate mirrors set in a wood frame. Above this is placed 
the bottom shelf of the top of case and doors are placed in the top. These 
doors can be of any glazing. THE DRAWING SHOWS LEADED DS. 
GLASS. Note the two center doors form a pair and side doors swing 
separately, which necessitates the use of a division strip between the center 
pair and the doors at each side. This strip is 2". The side casing is 4^4" 
of a design to match the balance of the trim in the room and the cap is to 
correspond also. Trim is always included with the case but shipped as 
a separate item but must be shown in the drawings 

No. 2. The two cross section drawings at the right are taken at lines 
"AA" and "BB". As we have explained, the cross section of the kitchen 
case we will leave the drawing of these cross sections entirely to the student 
unexplained. This will give us an opportunity to know how you can pro- 
gress without assistance. The enlarged cross section drawing "EE" shows 
the construction of the top. Cross sections enlarged at "GG", shows the 
manner in which the mirrors and their respective frames are placed in their 
respective positions. It also shows how the mirror is placed in the frame. 

PRACTICE LETTERING BEFORE AND AFTER EACH LESSON. 
EXERCISE NEATNESS AND CARE WHEN MAKING YOUR DRAW 
INGS. 

LESSON NO. 32. 





- 




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5^3*5 




__J > C-Sv, 


• 


j ■ im 


- : " >- 








No. 1. Lesson No. 32, consists of a seat used in various locations in the 
interior of homes. The seat proper is made up of panel work as you can 
see by the detail. 

No. 2. Draw cross section, starting with a horizontal line which will 
denote floor line. Draw another horizontal line 1-5 above the floor line and 
then another 1 ' s" above the second horziontal line. This will give you the 
seat top. Then draw a perpendicular hue to denote the back or wall line, 
draw two more perpendicular lines up from the floor line and stop them 
at the bottom of the seat top and space the first line one foot out from the 
wall line and the second -)4" from the first line. This will give you the 
riser of the seat. Insert horizontal lines three inches down on the riser 
from the bottom of the seat and 3>1>" inches up from the floor line, which 
will denote the top and bottom rails of the riser. Insert a y'\" x J, s " cove 
under the seat top at the face of the riser and a quarter round accordingly 
at the floor line. 

No. 3. Draw a perpendicular line out from the wall line Y\" to a height 
from the top of the seat 1-5 and denote the bottom, and top stiles as ex- 
plained for the risers, include the cap and cove at the top and the back and 
also show the back to set in a rabbet at the back of the top, like shown in 
cross section. This construction insures a neat job. 

34 



No. 4. The irregular line extending- from above the cap of the back 
which finishes with a perpendicular line to the floor, denotes the end or 
arm and must he included in your cross section. 

No. 5. You now draw the end elevation which is a reproduction of 
the end of the. cross section. 

No. 6. The front elevation is drawn by projecting lines from the cross 
section and inserting the stiles of all the panel work of the riser and the 
back. Also show the front elevation of the ends by drawing two perpen- 
dicular lines. 

No. 7. Enlarged' full sized section "A A" shows the construction of the 
cap and how both it and cove member with the back. 

No. 8. Enlarged full sized section "BB" shows how the back, riser 
and cove member with the top. 

No. 9. Enlarged, full sized section "CC", shows how the panels are 
placed in the rabbet >of the division rails. This section is drawn looking 
down toward the floor. 

No. 10. Enlarged full sized section "DD" shows how the stiles arc- 
placed in a groove in the seat ends. This section is also drawn, looking 
toward the floor. 

LESSON NO. 33. 



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1 




1 


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No. 1. Lesson No. 33 is a boxed stair. The term boxed used in con- 
nection with stairs denotes that it is to be placed between the walls. Eor 
example attic stairs are usually boxed. 

No. 2. In laying out a boxed stair, the only measurements necessary are 
the width between the plastered walls, the height from the. finished floor 
where the stairs starts to the top of the finished floor where it stops, also 
the run or space in length where it is to be placed (FROM THE FACE 
( )F THE FIRST RISER TO THE FACE OF THE LAST RISER). 

No. 3. The next move is to find the number of risers and the respective 
height of each. To arrive at this, divide the height from the finished floor 
to the finished floor by the number of risers, and if you know the measure- 
ment in height of each riser, divide the height from the top of finished floor 
to the top of the finished floor by the riser height, this will determine the 
number of risers. 

No. 4. After you have determined the riser, you will find the run or 
width of each tread. (REMEMBER THAT THERE IS ALWAYS ONE 
TREAD LESS THAN Till-; RISERS AS Till'. LANDINC NOSJNC 
WHICH RESTS ON THE LAST RISER SERVES AS THE LAST 
TREAD.) 

35 



No. 5. In this lesson there are 15 risers and we will take 9-4}/" for the 
height from the top of finished floor to the top of the finished floor, which will 
give us a rise or height of each riser of /'_>" and we will use 12-3" for the 
run, which if divided by 14, the number of treads will give us a 10'_>" run. 

No. 6. You now draw your floor plan, leaving 3-0 space between the 
walls and insert the risers spacing them 10]/" apart. The lines inserted 
from wall to wall denote the risers and the space between each riser denotes 
the tread, in other words a floor plan of a stair is the view taken looking 
down on the stair from the floor above. In reality, looking from this position 
you would see the treads only as the risers are invisible, but in practical 
work, the lines from wall to wall are understood to be the risers. Risers 
arc usually Y\" thick and treads 1^" thick. 

No. 7. The wall strings are at both sides of the treads and risers and are 
gained or housed out jH?" deep, on the same rise and run as the treads and 
risers, which is done to insure tight joints, also that the treads and riser 
ends will have something on which to rest insuring strain strength 

No. 8. The enlarged full size detail below the floor plan is that of a tread 
and riser, showing how the back of the tread is tongued Y%" x jHT to fit in a 
groove in the face of the riser at the bottom edge and also how the top 
of the risers are tongued }&" x Y%" to fit in a groove in the bottom of the 
tread l\s' back from the front edge of the tread. A m" cove moulding is 
placed here to cover the joints, making a neat job. Note how the face edge 
of the treads are finished or nosed, which is the correct term. 

No. 9. The next drawing is a cross section taken on a center line 
through the stairs so that you can see the end of each tread, riser and cove. 
Also the height from floor to floor and the run. 

No. 10. The line above and below the treads and risers, which members 
with the floor base, denotes the wall string, which is usually moulded on the 
top edge to correspond with the design of the base used. 

No. 11. The next drawing is the enlarged section drawing 'drawn to 
a scale of 3 inches to the foot, showing the treads, risers, coves and string. 
It also shows wedges or keys as they are sometimes termed. One key is 
placed below the tread at the back and the other is placed at the back of the 
riser at the bottom edge and both are placed in the gain of the wall string, 
which is made sufficiently large to permit their use. In some localities these 
keys or wedges are used only in connection with one of the wall strings 
and the opposite string is scribed, meaning that it is sawed at the bottom 
edge to correspond exactly with the tread and riser measurements, and 
after the treads and risers are placed in one string (using the keys) the 
string that is scribed is laid over the treads and risers and against the wall. 

No. 12. These wedges are glued in place by the carpenter contractor 
but furnished by the mill, and their purpose is to prevent the stairs from 
squeaking, also to insure tight joints. 

LESSON NO. 34. 

No. 1. Lesson No. 34 consists of stair newels. The student must first 
learn how to draw them and their construction which will enable him to 
progress more rapidly in stair detailing- and its construction. 

No. 2. The three designs of newels are generally used in an ordinary 
open or curb string stair and should you encotliter architect special designs 
the construction in general will be the same, unless the design necessitate-- 
a change. 

No. 3. The first two designs are starting newels and the third a landing 
newel. 

No. 4. Draw the starting newel "A" as shown using the scale of l 1 //' 
to the foot, making the base No. 1 of each 7}j", and the shaft No. 2 of each 

36 



6 and include the moulding, placing them as shown. 

No. 5. Enlarged half full sized section "AA" is the shaft No. 2. Note 
how the top is rabbeted and set down into the shaft. Also note how the 
mouldings are placed and draw accordingly. 

No. 6. Draw enlarged, half size section of base taken at "BB" and note 
how the base is fitted around the shaft and how the shaft rests on blocks, 
glued and nailed to the interior of the base. Also note the moulding which 
is broken around the base at its top and placed against the shaft. 




No. 7. Section "CC" is of the shaft, looking down on the top of the 
moulding placed at the base. Note how the two sides of the shaft are 
tongued at each side to fit into a groove on the inside edge of the membering 
sides. The lines extending around this shaft cross section, are the prom- 
inent edges of the moulding, which rests on the base. Note the blocks in 
the corners of the shaft which are glued approximately every 10 inches 
apart, inside of the shaft to insure strength. 

No. 8. Starting newel "B" is made similar as you will note by studying 
the enlarged half full size section "DD" and "EE". The panel portion 
is made separately and the panels are placed in their respective position. The 
shaft is made in two sections as shown and the intersecting lines or joint 
is covered with a moulding. When starting newels are paneled, the small 
panel between the neck and cap moulds is placed on three sides only as 
the fourth side must be left solid so the stair rail can be fastened (YOU 
WILL LEARN REGARDING STAIR RAIL IN A LATER LESSON.) 

No. 9. The angle newel "C" i^ constructed the same as starting 
newel No. 1, only it has no base and the shaft is 5x5, the bottom is usually 
exposed, which necessitates a bottom similar to a cap, like shown in starting 
newel No. 1, only it is beveled as shown to aid the design. 



LESSON NO. 35. 




No. 1. Lesson No. 3? consists of a curb string- stair, consisting of two 
inns. To draw this stair you must first ascertain the rise and run as ex- 
plained in paragraph No. 2 and No. 3, lesson No. 3o, only yon must know the 
rise and run of each stair or run separately. To find the rise of the first run, 
yon must know the distance from the top of the finished first floor to the top 
of the finished platform floor and to find the rise of the second run, you must 
know the distance from the top of the finished platform floor to the top of the 
finished second floor. 

No. 2. The floor plan is laid out in the same manner as explained in 
paragraph No. 3, lesson No. 33. only this stair does not set between two 
walls, as it is a curb string stair. 

No. 3. The drawing at the upper right hand of this lesson shows how 
the newels and rail appear on the floor plan at the second floor. Note 
that a half angle newel is placed against the wall, so that the rail and balusters 
extending back from the angle newel at the second floor landing can be 
fastened. Both these newels are angle newels, like angle newel "C", lesson 
No. 34. The space between the two walls is known as the well hole and 
the rail and balusters between the angle newels are necessary to close the 
opening on the second floor over the first run. The elevation of these 
rails, balusters and newels is shown at the upper left hand corner of 
this lesson. 

No. 4. After you have drawn the floor plans and inserted all the newels 
and rails which arc centered on the newels (NOTE HOW" THE ANGLE 
NEWEL AT THE WALL ON THE SECOND FLOOR OR LAST 
RISER FITS AROUND THE WALL) include the circle end and quarter 
circle and steps (THESE ARE INSERTED BY THE USE OF THE 
COMPASS) to draw the elevation of the stair, draw the floor line, after 
which you draw a perpendicular line, which denotes the wall line, ascer- 
tain the height to the top of the platform, which in this lesson is 5-7^A" 
and draw a horizontal line out from the wall line 3-6, the width of the plat- 
form, lay out the distance of the first run from the face of the platform to 
the face edge of the first riser, which is 6-8". This will give you the working- 
si >ace of the rise and run of the first run or flight. 

No. 5. Draw the starting step and riser, making the rise 7 r />" and width 
ol the face of this riser 2-6". The thickness of the tread is \ l A", and it pro- 
jects beyond the riser all around the exposed portion l'_>". Also insert 
a 24" cove as shown. The balance of the risers and treads are inserted the 
same, only they do not have the end of the treads nosed, neither do they 
have the cove moulding returned on the ends (EXCEPT THE QUARTFR 
CIRCLE OR CIRCLE TREAD), which is finished to a point where it 
intersects with the starting newel. 

No. 6. Insert the starting newel in sizes explained in lesson No. 34, 
also the angle newels and the half" angle newel at the wall line. Insert the 
panel curb string between the starting newel and the first angle newel. 
Also insert the rail accordingly and include the balusters. Their amounts 
are 3 to each tread except the first tread back of the starting newel and the 
last tread at the angle newel, which are two and one to a tread respectively 
as shown. 

No. 7. The second run is drawn in the same manner, extending from 
the platform to the second floor, omitting the circle end treads and extending 
thi' angle newel on the platform at the starting of the second run above 
the first angle newel of the first run. Remember when inserting lines rep- 
resenting the curb string and rail, the} - must be parallel with each other. 
All tread ends except those exposed are indicated by dotted lines, meaning 
that they are invisible. 

No. 8. You now insert the platform facing as shown. Also the rail 
and balusters extending from the first angle newel of the first run to the 
half angle newel of the platform at the wall line. 

38 



No. 9. Remember that after you have finished drawings your elevations 

and floor plans, you must insert the following necessary measurements in 
their respective [daces. 

No. 10. ELEVATION height from top of finished first floor to the 
top of the finished platform floor, and from the finished platform floor to the 
top of the finished second floor and from the top of finished first floor to the 
top of finished second floor. These measurements are inserted, so if either 
so if either are wrong- the two measurements will not correspond. 

No. 11. The floor plan must have the width from the face of the 
plastered wall to the center of the well hole and from this point to the center 
.of the rail of the first run or the face of the finished plaster of the wall of 
this run. Insert both the width and length of the platform and the rise 
and run or the total run of each flight. Also cross hatch your walls, which 
will indicate them. 



■>■%■£ r t r- . 




No. 12. Plate No. 2 of this lesson shows the enlarged full size sections 
taken at points as marked. This will enable the student to know the con- 
struction. 

No. 13. Full size section "AA"'is of the curb string . No. 1 shows the 
rails of the panels, No. 2 is the string of the stairs, which is gained or housed 
as explained -in paragraph No. 7, lesson No. 33. No. 3 shows the panel, 
No. 4 shows the curb cap. No. 8 a quarter round. 

No. 14. In many cases the panel No. 3 is omitted and the rails No. 1 are 
made open without panels and planted on the wall string No. 2, which 
serves as the panel, but the manner shown in this plate is more practical 
as the intense heat from furnaces have a tendency to cause the wood work 
to open up and if panel No. 3 is used, this opening or buckling does not 
spoil the appearance of the stair, further with this construction it will not 
warp or buckle as easily. 

No. 15. Full size section "BB" is the section of well hole finish taken 
at the second floor line over the first run between the angle newel at the 
second floor and the half angle newel also at the second floor and consists 
of the same members as do a part of section "A A", namely No. 1, No. 3, 
No. 4, and has other members as No. 6, which serves as a base. No. 7 as a 
fillet. No. 10, which is a base shoe, universal No. 8422 and No. 9. which shows 
a plaster moulding, at the first floor ceiling- line. Also No. 5 which shows 
the stair rail the same as used throughout the stair. No. 11 is the baluster. 

No. 16. The full size section "CO" is the same as "BB" taken at the 
stair platform and differs only in the width and number 8 quarter round, 
which is as per section "AA" in place of No. 9 soffitt moulding. 

No. 17. The drawing at the extreme right hand corner is the enlarged 
drawing drawn to the scale of 3 inches to the foot, the same and to show 
the same points as explained in paragraph No. 8, lesson No. 33. 

39 



No. 18. There is one more item in connection with curb stairs which 
are always used hut not always furnished by the mill, this is rough horses. 
They are made from material 2x12 and usually from V.P. For a stair 4-0 
wide or less. 3 strings are used, which constitute the rough horses and they 
are cut or sawed the same rise and run as the rise and run of the stairs. 
These horses are newer shown in the details but are cared for by the foreman 
of the stair department. The stair platform framing is often furnished by 
the mill when rough horses are included. 



LESSON NO. 36. 




No. 1. Lesson No. 36 consists of an open string stair. Study carefully 
this lesson to familiarize yourself with the general construction, which you 
will find to be similar to the curb string stair in lesson No. 35. 

No. 2. The rise and run are obtained the same as explained in para- 
graph No. 2 and No. 3 of lesson No. 33. finding first the height to the top 
of the platform and from this point to the top of the finished second floor. 

No. 3. The newels are placed the same as in lesson No. 3?. The rail 
is also placed in the same manner, membering with the newels as explained 
in lesson covering the curb string stairs. 

No. 4. The starting step and riser is a right hand half circle end and is 
similar to the one shown in lesson No. 35. but you will notice by studying the 
floor plan at the extreme right of this lesson that the quarter circle end 
tread and riser are omitted. 

No. 5. The wall string of this stair is housed the same as explained lor 
the strings in lesson No. 35 and as shown by enlarged drawing drawn to a 
scale of 3 inches to the foot, sheet No. 2, lesson No. 35, and the face string- 
is sawed to receive the treads and risers and the ends of the treads are ex- 
posed, which necessitates the use of a nosing finished the same as the face 
edge of the tread. 

No. 6. The balusters in this stair rest on the tread and the number used 
with each tread is three except on the treads that intersect or are fitted 
to the newels and on these treads the number is two respectively. 

No. 7. The elevation drawing at the left will show you how the rail, 
balusters and the end of the treads appear after they are put in their proper 
place, and how they must appear on a detail drawing. 

No. S. The drawing at the top of this lesson shows the rail, balusters 
newels and well hole paneling over the well hole, viewing it on a line taken 
at "XX" of the floor plan of the, second run, which is at the left of the well 
hole balustrade elevation just mentioned. This well hole, rail, balusters. 
newels and paneling or balustrade and well hole finish, as it is usually termed, 
is returned or placed all around the well hole on the second floor level, 
including the return to the wall directly over the second run of the stair, 

40 



and is fitted at the wall to a half angle newel which is fastened to the wall. 

No. 9. The cross section enlarged, showing the construction of the 
paneling of the well hole panel is the same as enlarged section "BB" of lesson 
No. 35, detail sheet No. 2. 

No. 10. In drawing this lesson you must draw the floor plan the same 
as shown at the right of this lesson, also you must draw the floor plan at 
the extreme left hand corner upper edge. By drawing this second floor 
plan you can denote the well hole rail, and newels on this floor plan, in- 
dicating their location which is just as essential as the balance of the details. 







No. 11. Sheet No. 2 of lesson No. 36, show the enlarged details of var- 
ious important parts of this stair. The drawing at the extreme left shows 
how the risers are fitted to the face string-, also how the rise on the face 
string, and the edge of the riser proper are mitred, which makes a neat joint 
and a finished job. This drawing is looking down on the top edge of the 
string and riser before the treads are in place. 

No. 12. The enlarged detail drawing drawn to a scale of three inches 
to the foot will show how a tread is cut to receive the nosing. The nosing 
is shown separately at the right of the tread just mentioned. The drawing 
of the nosing shows how it appears before being put in place. The three 
circles on the tread of which we are speaking denote what is known as a 
dove. This dove is sawed into the edge of the tread one-half the size of the 
baluster and the end of the baluster is sawed accordingly to fit. Both the 
dove of the tread and the dovetail of the baluster are sawed or turned on a 
bevel. The thickest part of which is at the bottom of the baluster. This is 
done to insure their permanency after being put in place, and preventing 
anyone from pulling them out of place, or becoming loose, and eliminating 
nails. 

No. 13. The drawing below the tread just explained, shows the tread 
with the nosing and balusters in their proper place. Note you do not 
see the dove of the tread as the section of the balusters is taken on a line 
above the tread, also note how the nosing extends beyond the back edge 
of the tread which is done so the nosing and cove moulding can be re- 
turned the same distance back beyond the face edge of the riser at the 
back of the tread to correspond with the projection of the tread and return 
of the cove at the face edge of the tread and riser. 

No. 14. The enlarged drawing at the bottom of this lesson will show 
the manner in which this is done and how the balusters appear from the 
elevation in their proper place, properly spaced with the width of the tread. 

No. 15. Rough horses are used with these stairs the same as explained 
in paragraph No. 18, lesson No. 35. 

No. 16. The wedges or keys are also used at the wall string, which we 
have explained is housed. To freshen your memory on this construction, 

41 



refer to paragraph No. 11, lesson No. 33 and enlarged detail sheet, lesson 
No. 35. 

LESSON NO. 37. 




Lesson No. 37 consists of a store front placed between brick walls. There 
are many designs of store fronts, in fact there are seldom if ever, two that 
are designed alike, but experience teaches us that the general construction 
is similar, and if the students use careful judgment, they will be able to detail 
any' front. 




No. 1. Detail sheet No. 1 shows the floor plan and a few of the cross 
sections. Sheet No. 2, shows the balance of the cross section details. 

No. 2. Draw the side walls, making each 13" thick and the space between 
where you are to draw the front is to be 19-0 as shown. Insert the two 
side iambs at each wall the size to be in accordance with the one-half full 
size section "CC", but remember that the front proper is drawn to a scale 
of ¥>" to the foot. You then draw the corner posts. (SIZE TO BE IN 
ACCORDANCE WITH SECTION "KK") which is one-half full size. 
You now draw the door posts in accordance with cross section detail "HH". 

No. 3. For your benefit we will explain how to insert the door posts 
accurately. Draw a light line with the T square, across the recess on a line 
with the "outside edge of the corner posts "KK", Then measure back 2-6 
the depth of the recess and draw another line parallel with the first line. 
Then divide the width of the recess •between the corner posts equally and 
draw a straight line back through your second line or parallel line. This 
will give you a center line, from which to work. Insert your door which is 
3-6 wide and which will be 1-9 at each side of your center line, this door 
will be \Y\" thick and the stiles are to be 6" wide. The back or inside edge 
o! the door is to start at a distance 2-6" from the outer edge of the corner 
post. Now measure your door posts at "HH" and insert accordingly, allowing 
a rabbet of *^"x 1^4" in which the door will be fitted. 

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No. 4. The lines extending from the corners of the door posts "HH" 
and the corners of the corner post "KK", also the lines from the corner posts 
to the side jambs "CC" indicate the sill. (ITS PLACE IN THE ELEVA- 
TION IS ON A LINE AT "I I".) Remember that the side and head jambs 
and all posts if of wood must be the same width so the sill can be fitted 
without coping - it back, which would spoil its appearance. Cross hatch each 
member of this plan except the sill. 

No. 5. The elevation is drawn by projecting lines up from each project- 
ing point of the exterior of the floor plan and carry the lines of the side jamb 
across the head as the head jamb is a continuance of the side jamb as you 
will see in enlarged drawing section "DD", "CC" and "EE". All lines show- 
ing the exterior of the side jambs. Quarter rounds corner and door posts 
are stopped at head jamb. Draw head casing and cap which is not absolutely 
necessary, but helps to make a neat and more finished job. The size of this 
head is l^"xl2" and cap is l^"x2". 

No. 6. Insert the sill between the side jamb and the corner post and 
between the corner posts and the door posts which is indicated by four lines 
as you will note by studying enlarged detail "I I" and "JJ". The bottom 
line indicating the stop which holds the bulk head panel in place. 

No. 7. The bulk head panel between the sidewalk or grade line and the 
main sill. This is drawn as shown placed between the side jamb and the 
corner posts and the corner posts and the door posts. 

No. 8. Insert the sash as shown, the bottom rail of which is 4" and the 
stiles and top rails are 3". The height of these sash are the distance between 
the top of the main sill and the bottom of the transom bar, which is on a 
direct line with the top of the door, making the sash 5-3". 

No. 9. Insert the transom bar, indicating it by five lines as you will 
see by studying enlarged cross section detail "XX" (NOTE THESE LINES 
KRti i SPACED DIFFERENT FROM THE SILL. OWING TO ITS DE- 
SIGN). Then insert the transom which has a 3" bottom rail, also 3" stiles 
and top rail. 

No. 10. The narrow sash shown in the angle or recess of the floor plan 
are sometimes drawn the same as the main sash, but in this drawing, the 
glass is stopped in against the sill and transom bar at the top, and in a 
rabbet of the corner and door posts, owing to the narrowness of the recess. 

No. 11. Insert a transom above the door transom bar "GG". Its rails 
are the same as the main transom. 

No. 12. The drawings at the right are cross sections taken at lines 
"AA" and "BB" and are drawn to denote the necessary heights at the points 
which are necessary to construct the material for the front and are ecpially 
essential as the widths. 

No. 13. Study carefully all enlarged cross section drawings and mem- 
orize their size, construction design and their respective position in the 
front. 

LESSON NO. 38. 

No. 1 is a true Gothic. Draw the outer edges of the stiles of the win- 
dow the correct opening width. Strike a convenient horizontal line, assuming 
this to be the spring line like "A" to "B". The radius of a true Gothic is 
always equal to the width of the opening and the radius points are always 
located on the spring line "A" to "B" at the outer edge of the sash "C" 
and "D". To draw the Gothic, place the leg of the compass at point "C" 
or "D" and swing the lead point of the compass to the top of the Gothic at 
"E" which is on the center line. Reverse the operation to draw the opposite 
side. 

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To establish the inner or glass line of the Gothic portion, narrow the 
compass the width of the stile which in this plate is 2" and follow the pre- 
vious instructions, using the same radius points "C" and "D". 




No. 2 is flat Gothic which has four radius points and two distinct radius 
located at different points and which are determined by the width of the 
opening. 

To draw this sash, lay out the outer edges of the stiles "A" and "B", 
projecting them perpendicular to an indefinite point. The next move is to 
establish a correct center line "C" and "D" midway between and parallel with 
the stiles "A" and "B". 

You now assume a convenient point "E" and drop down a distance 
equal to one-third (1/3) of the width of the opening. A horizontal line 
drawn through this point will be the spring line "F" to "G". 

Draw indefinite perpendicular lines "H" and "I", parallel with the center 
line "C" and "D" at each side and beyond the center line, one-sixth of the 
width of the opening. Set your compass the width of the sash. With "E" 
as your radius point, describe an arc intersecting lines "H" and "I" at "J" 
(An ARC is a portion of a curved line). 

To establish the radius point "K" of the smaller portion of the Gothic 
measure in from the outer edge of the opening on the spring line "F" to "G" 
one-sixth (1/6) of the total opening width. Straight line "L" to "M" drawn 
through radius point "J" and "K" will determine the true joining points of 
the arc's and the only correct meeting point of the two segments. 

With the width of the opening as the radius, using "J" as tne radius 
point, describe the arc on larger portion of the segment drawing this portion 
of the segment from "E" to "O". 

With "K" as the radius point and a radius equal to one-sixth (1/6) of 
the total opening in width, describe the small portion of the segment drawing 
this portion of the segment from "O" to "P". 

Duplicate this operation to complete the opposite half of the Gothic. 
After which, complete the balance of the Gothic, narrowing the compass 
the width of the sash stiles which in this plate is 2 l / 2 " , using "J" and "K" 
as the radius points. This will establish the glass line of the sash. Extend 
the stiles and insert the bottom rail, allowing the proper glass and opening 
size of the sash. (Bottom rail to be 4"). 

No. 3 is a true half circle top window. The radius of a true half circle 
is always half the width. 

To draw the half circle top of this window, determine the radius point 
which is located on the spring line "A" to "B" where the center line "C" 
to "D" and the spring line "A" to "B" intersect at "E". Complete the 
drawing by inserting the necessary stiles and rails, using 2" for the width 
of the stiles and top rail and 3" for the bottom rail. 

44 



No. 4 is a true half-circle top out and square inside. The half circle 
portion is drawn the same as explained for No. 3 and the balance is drawn 
square as shown, using 2" for the stiles and top rails and 3" for the bottom 
rail. The 2" top rail is determined at the center line "!C" to "D". 

The drawing at the lower left hand corner of this plate shows how to 
determine a radius point when no. given radius or radius points are known. 
You must assume three given points. (TO PASS A CIRCUMFERENCK 
THROUGH ANY THREE POINTS NOT IN THE SAME LINE, assume 
"A", "B" and "C" as the given points. With "A" and "B" as centers and 
using any convenient radius, describe ARC'S intersecting each other at "D" 
and "E". With "B" and "C" as centers using the same radius, describe ARC'S 
intersecting each other at "D" and "E" through "F" and "G". Through "D" 
and "E" also "F" and "G" draw lines intersecting at "H". With this point 
as a center and "H" to "C" as a radius, describe a circle which will pass 
through "A", "B", and "C". 



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